By Leonard S. Marcus
Finely nuanced and consistently revealing, Leonard S. MarcusвЂ™s interviews diversity largely over questions of literary craft and ethical imaginative and prescient, as he asks 13 famous delusion authors approximately their pivotal lifestyles stories, their literary impacts and paintings exercises, and their middle ideals in regards to the position of myth in literature and in our lives.
Includes interviews with * Lloyd Alexander * Franny Billingsley * Susan Cooper * Nancy Farmer * Brian Jacques * Diana Wynne Jones * Ursula okay. Le Guin * Madeleine LвЂ™Engle * Garth Nix * Tamora Pierce * Terry Pratchett * Philip Pullman * Jane Yolen *
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Finely nuanced and continuously revealing, Leonard S. MarcusвЂ™s interviews variety largely over questions of literary craft and ethical imaginative and prescient, as he asks 13 famous fable authors approximately their pivotal lifestyles studies, their literary affects and paintings exercises, and their center ideals concerning the position of delusion in literature and in our lives.
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Additional resources for The Wand in the Word: Conversations with Writers of Fantasy
I know that my stories are complicated, and I hope that as I grow as a writer, I willfindways to make them not less mysterious but more accessible. Q: What about the game of Description, which Nuria plays in Well Wished? Did you play that game as a child? A: Not, like Nuria, with another person. But I was a very romantic kid. And as I've already said I always wrote poetry. So in a way I did play Description with myself. FRANNY BILLINGSLEY 25 Q: Why do you think you write fantasies instead of some other kind of story?
Detail is important. In Silver on the Tree, there's a moment where Jane is up at sunrise and is out on the dunes and the beach in Aberdyfi, where my parents lived. I thought, I'd better get this right. So the next time I was home in Wales, I got up before sunrise and went out onto the dunes with my little notebook. I could have described the dunes and the beach from memory. But there were some details I couldn't have remembered: the length of shadow, the colors at the moment of sunrise. Q: Do you revise your work?
And if it does, what will she decide to do once she's there? So, there's a connection between the inner story—the story of who she is—and the outer story—which is the story of her physical identity. So that for me is what fantasy can do so well. Q: Do you have a daily work routine? A: My best time to write is in the early morning. I try to write four hours a day, starting around 5:30. But because my husband, a professor of English and theater, also finds that the morning is the best time for writing and class preparation, we switch off days.