One of the joys of writing novels over writing for the screen is that your budget is infinite and your imagination is unfettered. You don’t have to worry about the cost of the number of suns your planet orbits around, nor about the practical effort required to have half a dozen alien races, none of whom conform to a basic upright and bipedal morphology, appear repeatedly and interact with your human characters.
In Down Station, when I blew up London – which in and of itself is a somewhat technical task, involving setting fire to the Underground and melting the streets around Mayfair – I needed somewhere for my survivors to run to. That somewhere was Down, which has more in common with Tarkovsky’s Solaris and Julian May’s Pliocene Earth than it does C.S. Lewis’ Narnia. I wanted Down to be both eerily familiar and surprisingly different: you can, of course, read the Books of Down and not worry about what happens under the bonnet, but as the author, that’s exactly what I had to do – open it up and tinker with the engine until I was happy with how it all worked. Continue reading
Brad Beaulieu: I’m the author of 
Rob Ziegler: I’m the author of the novel 
The Blood Mirror, the fourth novel in Brent Weeks‘s epic 
Book four of the Traitor Son series, 
In the beginning, there was the protagonist, and the author saw that it was good.
Let’s start with an introduction: Who is J.D. Oswald?
Let’s start with an introduction: Who is Barbara Barnett?
“Is this book a standalone or the third in your trilogy?” A question that I’ve had to address since the publication of my latest book, Spellbreaker. The answer, perhaps confusingly, is yes. When justifying this answer, I’ve done a lot of thinking about the way stories are told in series, particularly in epic fantasy.
When I first started writing Of Sand and Malice Made, I didn’t have a small novel in mind, or even a set of interconnected novellas. It began only with a single story, “Irindai”, which eventually sold to 
Civilian Reader 