
It's here folks, our interview with Brent Weeks is posted for your pleasure and he's a great interviewee. For those of you unfamiliar with his work, he wrote the utterly brilliant "Night Angel" trad fantasy trilogy and here is what we thought of the books. In a brilliant marketing move Orbit released the books over three months securing his place on our bookshelves and in our minds and they have recently confirmed he's signed up for more. Enjoy.
"First of all thanks for joining us and congratulations on your new deal with Orbit, I'm glad to hear we can expect more from you fairly soon (2010).
HR: With your next releases are you sticking with traditional fantasy or will we see a different aspect of your writing? Can you tell us a bit about the core plot?
BW: I plan to stick in the genre, but my next novel or novels will be set a bit later than typical fantasy. The closest I can say is that it will be roughly 1500 A.D. technology in an (extremely) alternate Mediterranean Sea type setting. That said, my next world will be one in which magic is much more common than in the Night Angel Trilogy. I'm not ready to talk about plot yet, because I haven't figured out when readers learn which of the world's secrets.
HR:I was surprised at how well the novels stand on their own given they were written as a trilogy, was that something you set out to do and was it hard to achieve?
BW: I loathe cliffhanger endings. If you can't deliver a full story experience in 700 or 1,000 pages, what have you been doing? To me, the true cliffhanger feels like both a storytelling failure and a pitiful attempt to wring another eight bucks out of me. I want my readers to think back on the time they spent in my world with fondness. If you deliver a great read, people are going to buy the next installment. That said, it's brutally hard to write a story that closes all the most significant plot lines and yet opens new and intriguing plot lines near the end of the novel and promises to close the vast, overarching plots as well.
HR: I understand you were able to have some influence in your book covers, how important do you think the cover is to selling a book and do you think it's important for the writer to have an input?
UB: First, my influence was pretty minimal. I mentioned a white background because an assassin dressed in black on a black background is going to disappear. Good for him in real life, not so good for a novel on the rack. It was more that Orbit included me in the discussions, which they didn't have to do. For that, I credit Tim Holman, the head of both Orbit US and Orbit UK. He believes that if the author likes the cover, it's more likely that the author's audience is going to like it too.
That said, writers are writers, not marketing people. Sure, I like to think that I've got a canny business sense. But look. Writing a great book is hard. Most marketing people couldn't do it. So accept that the marketing people might know some things about selling your book that you don't.
For a new guy like me, though, the cover is the most important thing. Eventually, what's between the covers is going to matter more, but you can sell a lot of copies with a great cover. Or very few with a bad one. When you realize that the success of something that you've poured your heart into for years is completely out of your hands, that's terrifying.
HR: You've stated in other interviews that you want to avoid "trapping" readers with a series but are intending to return to Midcyru for a future trilogy. Why do trilogies appeal so strongly to you and do you feel the author can also get trapped in a series?
BW: I love big stories. I like fast-moving plots, but over time, I want to give readers a deep sense of who my characters are. A trilogy done correctly gives you both. It can be tons of fun, deeply immersive, absorbing in a way that shorter novels can't, and it's awesome to follow characters through numerous adventures as they change and grow. If you can find closure to each book as I described above, you also have a ton of creative breathing room. One book is set in one city, the next is set in two different countries, the third is set in nations all around the world. That builds a whole that no one book could do alone, and it does it seamlessly. Or it can.
I do think an author can get trapped in a series. It's much easier to keep a ball rolling than to make up a whole new ball. There's also a dirty little secret about endings: the longer the middle of your series, the harder it is to finish the thing. Tying up seven subplots in one book is hard, and makes a book feel rushed. Tying up fifteen? Good luck.
HR: Do you ever miss teaching and did you gain anything valuable from your teaching experience for your writing?
BW: A good reminder that I'm not the only one with a short attention span? I miss the kids. I taught high school, and it's really an amazing time in a person's life. I don't write my books for a high school audience, but I also don't have any illusions: a significant number of my books are bought by high schoolers. By teaching, I got a pretty good sense of who those kids are, and what they'll bring to my novels.
HR: You state in your bio that you don't have a ponytail or cats, so if not endlessly grooming your hair/cats what do you get up to in your free time?
BW: I'm finding my pool of free time has shrunk since I've gotten published. I work out a few times a week. A life at the keyboard does not lend itself to a svelte figure. When I can, I'm a gamer. Xbox 360 mostly. I'm playing Fallout 3 and Fable 2 at the moment. My secret desire is to write a video game script someday.