In the 'Dreamblood' books, I'm focusing more on what I like about epic fantasy: the layering and depth of tension; the chance to really delve into the minutia of an alternate society and its politics; a large cast of characters to love and hate.
All people who grew up with science fiction and fantasy and horror went through the whole acculturation process of the genre. We were all told to read the golden age writers. We were all told Heinlein and Asimov and all these straight, white males, although some of them were Jewish.
When I start a new novel, I often write 'test chapters' in different tenses and from different points of view in order to figure out which is best to tell the tale.
There's a tendency in American thought - maybe elsewhere, but that's the culture I know best - to default to social Darwinism, even though even Darwin noted that's a misapplication of his ideas.
Actual Victorian mores and politics were a reaction to a specific series of historical events, technological and scientific developments, and ethical trends in which the commodification of people was de rigueur.
Knowing about authors' beliefs helps you understand how those beliefs influence their writing, and things you thought meant one thing, once you've got enough information about that writer, you suddenly realize mean an entirely different thing. That makes a difference.
This is magic we're talking about. It's supposed to go places science can't, defy logic, wink at technology, fill us all with the sensawunda that comes of gazing upon a fictional world and seeing something truly different from our own.
Reconciliation is a part of the healing process, but how can there be healing when the wounds are still being inflicted?
It's the way the human brain works: when enough events occur in a pattern, we stop thinking and go into macro mode.
My first series, the 'Inheritance' trilogy, in the first book, you were dealing with a woman of color from an impoverished culture, being brought up among wealthy, privileged white people and having to cope and perform in ways that she has not been raised to do, and that was obviously drawn from some personal experiences.
Magic is the mysteries into which not everyone is so lucky, or unlucky, as to be initiated. It can be affected by belief, the whims of the unseen, harsh language. And it is not. Supposed. To make. Sense. In fact, I think it's coolest when it doesn't.
A fantasy novel set in something other than medieval Europe, featuring an almost entirely black cast, is considered risky.
It's hard out here for a fantasy writer, after all; there's all these 'rules' I'm supposed to follow, or the Fantasy Police might come and make me do hard labor in the Cold Iron Mines.
I've been very happy with Orbit and am thrilled that they're giving me more chances to explore my creative visions.
Fantasy is fantasy. It's fiction. It's not meant to be a textbook. I don't believe in letting research overwhelm the fiction. That's a danger of science fiction in particular, as opposed to fantasy. A lot of writers forget that what they're doing is supposed to be art.
Reactionary movements can't sustain themselves unless they find something new to catch and burn on.
Within the sphere of steampunk, there seems to be a rapidly growing subsphere of gadgetless 'neo-Victorian' novels, most of which attempt to recapture the romance of the era without all the sociopolitical ugliness.
There's a thriving field of self-published stuff in, particularly, black fiction. I don't know that other groups of people of color have that same recourse.
I think most fiction focuses on uncomfortable settings because that's interesting.
As a black woman, I have no particular interest in maintaining the status quo. Why would I? The status quo is harmful; the status quo is significantly racist and sexist and a whole bunch of other things that I think need to change.
