Excerpts from the interview:

‘‘There are so many authors doing what I do that we have a name now: hybrid authors. Hybrids combine different things, and hybrids are stronger and more robust. There are tons of people now who do traditional publish­ing and also self-publish, or crowdfund some projects through Kickstarter, or publish short stories through Patreon, or whatever. It’s no longer either/or. I’ve been doing the hybrid thing for years, but now it’s so widespread it’s almost weird when people don’t. I’ll talk to authors who have thriving careers with big publishers, and they’ll say, ‘I have this weird little passion project, or this niche thing I want to do.’ Or, ‘I had this outline I wrote that we sent around years ago and nobody wanted to buy it, but I still care about it.’ Now there are options for projects like that. Crowdfunding especially has changed the threshold for what makes a project viable, and it works best for writers that are somewhat established, because you need a crowd. If you already have a career in traditional publishing, it’s easier to reach an audience with weird things that might not make enough money for your big publisher to take them on. Maybe you want to do a book that’s too niche or different for your main publisher. Now you can.”

*

‘‘I’m a short-story guy. Stories are what I’m good at, and occasionally great at. I’ve gotten to the point where I’m a pretty good novelist, but stories are where I excel, and I’ve written a few things I’ll go to my grave happy with. I’ve never written a novel I’m completely pleased with. After I started publishing novels regularly, I almost completely stopped writing short stories. I’d write them when I was solicited for an anthology, but writing for anthologies almost always means writing for a theme, or to a particular length, or with a particular tone. I rarely did the thing I used to love doing: getting an idea and just writing it, without worrying about how long it was going to be, or if it was going to be funny or scary or sad, or SF or fantasy or horror. I made my name (inasmuch as I have a name) from writing stories that way, but after novels took over my time, I stopped. ‘Write more stories’ was always on my mental to-do list, but it was way at the bottom, after the paying work, so I never prioritized it.”

*

‘‘It’s getting tricky for the midlisters. We’re going extinct. And the small press isn’t the same, either. It used to be that what a small press could offer was making a book. Well, now anyone can make a book. You can hire someone for not that much money to do your layout, buy some stock art or find an illustrator you like online and ask to use one of their pieces, and hire a cover designer who can turn that art into something attractive. You can hire developmental editors, copyeditors, proofreaders. You’re looking at an outlay of maybe hundreds of dollars, and that’s assuming you don’t have the skills to do any of it yourself, and you can get a nice-looking book, sell it, and keep all the money for yourself. The small presses used to have access to distribution channels that self-publishers don’t, but now anyone can publish with all the major online retailers. There are still good small presses with a lot to offer, ones with good relationships with bookstores, and dedicated bases of readers, and presences at conventions, and publicity skills, and good editing: those things all have great value. Subterranean Press is great, and I did a book with PS Publishing last year. Tachyon does fantastic books. Presses like that also offer a certain critical imprimatur: if they publish you, you’re probably worth reading. But there are other independent presses that don’t have that much prestige, or as many connections, and that don’t offer anything an author can’t simply do for themselves. We have more choices now.”

*

‘‘Most of my best friends who are writers write children’s books, if not exclusively, then at least in part. They’ve given me lots of advice. One of the things that made sense to me was that when you write young adult books, it’s very much about the inner life of the characters. Sometimes very little happens, externally, and it’s largely about processing emotions, figuring things out, deal­ing with your thoughts, and finding your place in the world. Middle grade is more about stuff happening. Younger kids don’t question things as much. You can have a magical thing happen to an eight- or ten-year-old, and they’ll roll with it. It allows you to avoid what I’ve always called the ‘blot of mustard problem.’ (You know, in A Christmas Carol, where Scrooge sees a ghost and tells himself it’s a hallucination brought on by indigestion from undigested beef or a blot of mus­tard.) I write a lot about magic intruding into the modern world, and when you do that, you have to deal with the protagonist’s natural disbelief. They have to say, ‘Is this a dream? Have I gone mad? Have I been drugged?’ Sometimes it’s important to have them wrestle with their belief… but more often you just want to get them to a point where they’ll plausibly accept the magic, so you can get on with the story. There are tricks to make that seem psychologically plausible, but in a middle grade, you don’t have to worry so much. You can just say: ‘Look, magic.’ And the child characters will accept it and act accordingly.”

*

‘‘I just like to try different things. I wrote a space opera proposal, which my agent is send­ing around now. If anybody bites on that, it will be my next project. There are a couple of other things I want to explore. There’s a character in my Marla Mason novels, a trickster figure, who’s very morally ambiguous. I have an idea for a novel about her, about revenge. I’ve wanted to do a big crazy revenge novel for a while. I love Joe Abercrombie’s Best Served Cold, and I like the Parker novels by Richard Stark, which are usually about someone being wronged and taking revenge. Right now I’m writing another Pathfinder Tales book, the fourth in a series about a con artist named Rodrick and his best friend, a magical sentient sword of living ice. I always liked Elric and Stormbringer, and I always liked Fafhrd and the Gray Mouser. One day I thought, ‘What if, instead of all the tortured angst, Elric and Stormbringer had the same sort of relation­ship that Fafhrd and the Gray Mouser have?’ A boy and his sword, partners against the world, two halves of a sundered whole. My talking sword is curmudgeonly and mostly wants to sleep on piles of gold all day, because he has the soul of a dragon, and his wielder wants piles of gold too, for all the obvious reasons. The first one was called Liar’s Blade – they didn’t like my preferred title Bastard, Sword, but I used it for a story about the characters later – and the third one, Liar’s Bargain, is out later this year. I like quest novels, but I like quest novels where everybody in the party has a secret ulterior mo­tive and is planning to betray everybody else. Right now I’m writing the fourth book, Liar’s Destiny, which is about the dangers of relying on a prophecy. I love writing this series because it’s mostly banter and sword fighting, 80,000 words of jokes and derring-do and selfish people being forced to do heroic things, because the alternative is too horrible to contemplate.”