DL: Have current events such as 9/11 and such found their way into your writing or influenced it?
SE: I don't think there is a way wherein current events do not reflect upon what someone writes; with some writers it's more direct than with others, but we're all thinking creatures and it'd be pretty difficult to will oneself blind or indifferent to the world. Having lived in England, where security issues were always present regards the IRA, I was to some extent used to the idea of persistent risk. And any reader of history and anthropology can get a sense of social/cultural/religious upheaval and the desperate acts that result. The human mind seems capable of virtually anything, and in a very senseless and tragic way that was made all too clear on 9/11, and yet in the aftermath we saw the other extreme, in the instances of profound courage following the attack. The human condition is central to all fiction, and for myself, writing military fantasy wherein tragedy plays such a fundamental role, I've spent a long time considering how one gives answer to the most terrible acts undertaken or witnessed, and for me it keeps coming back to the realisation that one rarely has the chance to match the magnitude of the bad with grand gestures of good. Instead, those gestures, of humanity, are always small, subtle, and all the more powerful and, ultimately, more meaningful than what went before. Sometimes a single life saved can in some way give answer to a thousand lives lost. I don't know how or why that is, but thank God it can, or we would all be in deep trouble. Compassion is always personal, and a focus for grief seems essential to healing. I've not considered whether there's been any direct influence on my writing. Each work of fiction has some sort of emotional context, but that's never clear cut or simple, and often the whole process of identifying and interpreting it belongs solely to the reader. Which is, I think, as it should be. DL: Do you have any advice for aspiring writers?
SE: 1. Finish what you start 2. Keep writing 3. Read books on writing fiction that discuss the gritty details of narrative structure and craft. If you don't see words like dialogue, point of view, exposition, theme, plot, psychic distance, diction level, setting, etc. and examples of the like -- find another book. If you see stuff like 'the bliss of talent' and the 'wonders of writing' stay away. Try John Gardner, Jack Hodgins and Stephen King -- all three have written excellent books on writing.
