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The interviews are sorted alphabetically by authors' last name -- one or more pages for each letter (plus one for Mc). All but some recent interviews are listed here. Links to those interviews appear on the An Interview with... Page.

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Ian R. MacLeod A Conversation With Ian R. MacLeod
An interview with Kilian Melloy
On the line between living creatures and machines:
"Well, we are machines, aren't we? Otherwise, I suppose it's one of the genre tropes I enjoy paying homage towards. You're faced with the ordinary -- say a character who seems to have a pet -- and then you think, how can I improve on that, make it more interesting? Transformation and shifting from human is also something my characters do quite a lot. It's one of the strengths of the genre that you can explore this area in ways which can be literal, philosophical, creepy and fun -- often at the same time. I also tend to switch off a bit when I encounter SF set some time in the future which doesn't attempt to address what we humans will have done to ourselves."

The New British Catastrophe The New British Catastrophe an interview with Ken MacLeod
conducted by Paul Raven
On the gestation for The Execution Channel:
"My initial pitch for the book, to myself, was: we've done New Space Opera. Now let's try New British Catastrophe. That got me thinking about the catastrophe novels of John Wyndham and J.G. Ballard and others, and how their catastrophes were always things that weren't likely to happen -- walking plants, a wind from nowhere, giant wasps, volcanoes in Wales -- instead of the catastrophe that everyone really feared. It was as if they were deliberately averting their gaze from nuclear war. That got me to the first point: to focus on what we really fear -- nuclear attack, terrorism, torture."

John Marco A Conversation With John Marco
An interview with Trent Walters
On an outline's level of detail:
"For The Jackal of Nar, I went into extensive detail in the outline. I had hundreds of pages of notes, and the actual outline itself was well over a hundred pages. That seems ridiculous looking back at it, but I think I needed to have that kind of detail. I needed to have the world fully fleshed-out and the story firmly pinned down before I began, probably as a way to boost my confidence. The sad part is that a lot of that outline never even got used."

George R.R. Martin A Conversation With George R.R. Martin
An interview with Wayne MacLaurin
On the size of the series:
"Initially I knew it was going to be big but I didn't know just how big. When I was still in the very early stages I was projecting three books of about 800 pages -- manuscript -- that would have been bigger than anything I had done, which would have seemed like a lot. Well, the first book was 1100 pages, the second 1200 pages and the third one were 1500 pages in manuscript and I'm not done. And there are three more books."

L.H. Maynard and M.P.N. Sims A Conversation With L.H. Maynard and M.P.N. Sims
An interview with Trent Walters
On story endings:
"The ending has to come from the rest of the story and be a part of it. It has to be a conclusion, but, as in life, that conclusion does not always have to neat and tidy. There are times when the story is told, and the final full stop does not give the whole game away. Here is a remaining mystery and that is where the narrative has been leading all along. Now, some people find that unsatisfactory, they want the ending to explain and tuck them up in bed. It doesn't always work like that..."

John Meaney A Conversation With John Meaney
An interview with Lou Anders
On the world building of Paradox:
"I had a very clear picture of the lower, impoverished strata: the curtained-off dwelling-chambers; the marketplace; the fluorofungus splashed across the ceilings, providing light and replenishing the air. The wonders of the Palace, the motile floor and intelligent walls and membranous entrances grew in my subconscious, I think, while I was writing about Tom's impoverished upbringing. It's all about Zen and the art of dreaming, to me. The images -- more than visual: the scent of hemp in the market-chamber, the cold hard stone of the tunnels -- come leaping from that magical elsewhere. Resonances, such as between the curtains and the membranes, become apparent only in retrospect."

Karen Michalson A Conversation With Karen Michalson
An interview with Lisa DuMond
On the essence of tragedy:
"Every time you see Romeo and Juliet you think, "Get there five minutes early!" If that didn't happen you wouldn't have a story and I was very conscious of thinking in terms of the way tragedy is often structured there are often these moments where the audience or the reader is shouting, "Don't do it!" The fascination is you know they are going to do it anyway."

Betsy Mitchell A Conversation With Betsy Mitchell
An interview with Steven H Silver
On her first SF job:
"My first job was as advertising copywriter for Dell Books, where I met Jim Frenkel, who at that time was running their late-lamented SF/fantasy line. Jim hired me to write freelance cover copy for some of their hardcovers and introduced me around to the New York professional crowd, and as soon as a genre job opened at Asimov's and Analog, as editorial assistant, I took it."

Steven Gould & Laura J. Mixon A Conversation With Steven Gould & Laura J. Mixon
An interview with Jayme Lynn Blaschke
On writers married to writers:
"We share an office, and there's this really nice feeling when you work at home. Writing is a very lonely profession, and when you write books, you don't get feedback for years. When I was an industrial engineer, I got feedback on a daily basis. It can be very lonely, and to have somebody right there in the office working too -- I just, look up and I look over, and I just kind of smile. So I think the thing about "don't marry a writer" is -- they're full of it. I think the smartest thing I ever did was to marry a writer. Period."

Thomas F. Monteleone Thomas F. Monteleone: Literary Lion
An interview with Thomas Myer
On starting out:
"After college, I just started writing stories. I wrote 30 of them in two years. Collected over 200 rejection slips. My first sale was to Amazing. They paid me a penny a word for a 3000 word story. I got a $30 check."

Elizabeth Moon A Conversation With Elizabeth Moon
Part 2 of an interview with Jayme Lynn Blaschke
On playing music:
"I used to play for the German club parties when I was at Rice, because I could play the accordion and pick things up by ear. In fact, three of us had a weird little trio that was accordion, cello and mandolin. That makes a very interesting sound."

Elizabeth Moon A Conversation With Elizabeth Moon
Part 1 of an interview with Jayme Lynn Blaschke
On writing SF vs. fantasy:
"It allows me to play with the science side of my mind. One of my degrees was a science degree in biology. I love science. I love biomedical science, I love astronomy, and you can't really do much with those in a fantasy setting. So in a science fiction setting, I can play with kinds of characters that are modern and more intellectual, perhaps."

Michael Moorcock Chaotic Lives: an interview with Michael Moorcock
conducted by Sandy Auden
"I'm naturally given to plunge into all kinds of things, though maybe less so these days. Linda, my wife, is the same. We'll go places that most people would be too scared to go. If we're travelling abroad, we'll wind up in the dark alleys rather than on the brightly lit boulevard. You'll find much more interesting stuff in the dark alleys."

Richard Morgan A Conversation With Richard Morgan
An interview with Sandy Auden
On the most enjoyable aspect of writing:
"There comes a point in any novel under construction when you reach a critical mass -- characters suddenly have enough weight to start acting by and speaking for themselves, and the scenarios you've created start to coalesce into something that has its own internal logic. In real terms what this means is that you find you suddenly just know what a character will do or say next, or -- even more of a high, this -- you write it, look at it and think My God, that's exactly right! That's the way it would be."

David Morrell A Conversation With David Morrell
An interview with Lisa DuMond
On shoes:
"A couple of years ago, on a major street near where I live, shoes began appearing, sometimes singly, sometimes in pairs. Old and new. All kinds of shoes. Every morning, on schedule, shoes would be on the dividing line of the street. There was a lot of speculation about who was putting them there."

James Morrow A Conversation With James Morrow
Part 2 of an interview with Nick Gevers
On being an atheist:
"... by saying that -- as my readers might imagine by now -- I'm an atheist. I don't like that word, though, because the concept it identifies is keyed to a negative, a void, whereas atheists of my stripe experience their attitude as something quite positive, quite nourishing. As the British philosopher Galen Strawson recently observed, God loves the atheists best, because they're the ones who take him the most seriously."

James Morrow A Conversation With James Morrow
Part 1 of an interview with Nick Gevers
On "mainstream" vs. "genre" classification:
"The American publisher of This Is The Way The World Ends packaged it wholly as a mainstream novel. As such, it nabbed some blurbs from established literary figures, got some serious review attention... and died a dog's death in the bookstores. No mainstream paperback publisher wanted to reprint it. But then the SF world came to the book's rescue. World Ends got a Nebula nomination, the SF Book Club picked it up, and Susan Allison decided to do it in her Ace Books mass-market line. Today, World Ends is still in print as a trade paperback from Harcourt, and that wouldn't have happened if the SF infrastructure hadn't put it on the map."

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