GRADUAL INTERVIEW (June 2004) Mark Shaw:  Do you ever get recognized by fans in your day to day life , and how does it make feel, what's your reaction ? It happens very rarely (and usually only by members of KevinsWatch.com <grin>). There is a good reason for this, and it helps to explain why I live in NM. Around here, I like to say, you can't throw a rock without hitting an artist of some kind. This area is fantastically rich in creative types. As a result: a) everyone knows writers, artists, potters, etc., so they don't consider just one more writer worthy of comment; and b) to avoid being overwhelmed by sheer numbers, everyone has to "filter," to concentrate on a few and ignore the rest, and this tends to happen along regional lines; so everything "Southwestern" gets serious attention and everything else is usually ignored. Tony Hillerman probably can't cross the street without being accosted by a fan, but for me it happens once every couple of years at most. How do I feel about being "recognized"? Well, how would *you* feel if someone you had never seen before in your life rushed up to you and began behaving in a way that demonstrated a considerable knowledge of your life and work? Unless your life is ruled by ego--and you never read newspapers--you might feel significantly uncomfortable. As I do. It's different, of course, when I'm in a place where I expect to be recognized (e.g. an sf/f convention). There it's rather a blow when someone peers at my name badge, shakes his/her head in bafflement, and walks away. <grin> But I try to treasure such experiences as exercises in humility. (06/01/2004) phillip andrew bennett low:  First, I would just like to express my admiration and gratitude; I'm a playwright who suffers from chronic illness, and in both areas of my life your work has had a profound impact. Two questions: 1) I've lately developed an obsession with the Book of Job; I don't know if this is something I'm imposing on the text, but the parallels between this book and the Chronicles are so striking that I can't help but wonder if it was an influence. Both open by recounting a man who has everything: health, wealth, and family, all of which are stripped away in the first few chapters; then, the bulk of the story involves the man railing, both passionately and rationally, against his fate, with other characters drifting in and out of the action, attempting to reason him away from his position of defiance; and both culminate in a philosophical confrontation with a divine force. (I happen to think that Covenant bore up a little better under the pressure.) So, ahem. Was it an influence? And 2) For a writer who is generally so private, has taking part in this gradual interview affected your process at all? In other words, does engaging in an ongoing dialogue about your work while writing trigger any ideas or cause you to re-evaluate what you're working on? Thanks! First an announcement (the relevance of which will become apparent shortly): Very soon now I will begin answering questions in this interview much more slowly. Between now (or whenever they arrive) and the end of July I will need to proofread four (!) novels: "Runes" in both its US and its UK incarnations; "The Man Who Risked His Partner" in paperback; and "The Man Who Tried to Get Away" in hardcover. At the same time, my US and UK publishers want me to undertake a project which I'm not supposed to talk about, but which will be so back-breakingly burdensome and vastly time-consuming that I'll have no choice except to simply cease living until the project is done. (Sorry, I can't tell you more than that.) So if you think I'm answering questions slowly now, wait until you see what happens soon. <sigh> Now, your actual questions. With my Biblical background, I must have been influenced by the Book of Job; but the influence is entirely unconscious, I assure you. I don't *approve* of the Book of Job. By the time I was in junior high school, I considered God's *capriciousness" toward Job to be actively immoral. Of course, in the real world people suffer as Job did all the time. But if that suffering is God's doing, then I say God is a rather despicable individual, and we're all better off without him/her. As for your question about how participating in this interview has affected my writing process, I'm afraid I don't know the answer. I've never done anything like this (the interview) before--and I haven't yet had a chance to start on Book Two. I only finished going over the copyeditted manuscript for "Runes" last week, and any day now the labors described above will hit my desk. So the earliest I can get started on "Revenant" will be mid-August. Of course, if working on this interview has an adverse effect on my ability to write, I'll have to ditch the interview. But at the moment I have no idea whether or not that will turn out to be true. (06/01/2004) Julia van Niekerk:  Well at the risk of sounding trite, I've been a fan ever since my father sent me the First Chronicles when I was 13. It's been great to read your gradual interviews (or desultory, as the case may be) and get a little insight into the man who wrote the books that moved me so profoundly. I won't say that they changed my life, or opened my eyes, but on an emotional level, they definitely touched me in a way no other story has. The first time I ever cried over a story was when Elena died - and this even though I knew in advance that it was going to happen. (A 13 year old with access to the next book will never resist the temptation to "peek ahead"). At any rate, I'm wondering whether the curiosity runs both ways. Do you do so-called "vanity searches" to find out what people are saying about you? Read the reviews at Amazon.com? The only attempts I've made at publishing anything I've written have been on websites (with varying degrees of selectivity) and so I don't get to see a lot of unbiased feedback. At the same time, I don't know if I'd be "strong" enough to open a page of reviews and see someone shredding one of my works to bits. I think, though, that curiosity would prevail - at least the first time. I'd follow the question up with "And do you take any of it to heart?" but I think I might have a good guess at the answer to that one ;) Oh, and over the years, I've apparently developed a strange predilection for dashes. Do you mind if I blame it on you? By all means, blame your predilection for dashes--or any other personal foible--on me. I'm here to serve. <grin> As a general rule, I do not do what you call "vanity searches." (Oh, maybe once every couple of years, when someone suggests that I look at something specific. But, I promise, I always feel guilty about it, and I swear I'll never do it again. <still grinning>). Reading reviews, like peeking in your lover's diary, is all about ego; and I find that ego is an obstacle to creativity. If you happen to spot something favorable and allow yourself to feel elated, you're simply setting yourself up to feel miserable when you spot something unfavorable. And neither reaction is particularly useful when you sit down to do your own writing. Not to get too sententious about this (he said sententiously), but I know whereof I speak. Back in 1983, "White Gold Wielder" was the #3 bestseller in the country for the year. As you can imagine, I was riding high. But then "Mordant's Need" only sold 15% as well as WGW, and the GAP books only sold 20% as well as "Mordant's Need," and more than one publisher has been unable to give my mystery novels away on streetcorners, and last fall my agent had a hard time finding publishers for "The Runes of the Earth" (more than one US publisher called me a "has-been"). In other words, I've had my ego jerked around by experts. So when I say that "writing isn't about ego"--or shouldn't be, anyway--I'm trying to communicate something that I've learned to consider desperately important. (06/01/2004) Lou Sytsma:  Greetings! Does the advice for a writer to read and write on a consistent basis ring true for you? I'm curious to your take on Stephen King's Dark Tower series. His writing style is so different from yours. Thanks for your time. I love the Dark Tower books so far (I've read four). If the subsequent installments don't disappoint me, I'll be very glad King wrote them. Advice for writers? Well, the most important thing I can tell you is that every individual has to figure it out for him/herself. Writing is like life in that respect. Everyone is different, and what energizes one person paralyzes another. With that in mind, however.... I don't see how anyone can even try to be a writer without both writing and reading consistently, stubbornly, regularly, deliberately, whatever you want to call it. If you don't "apply the seat of your pants to the seat of the chair and write," you're just kidding yourself about being a writer. And if you don't read constantly, even obsessively, you're denying yourself the greatest possible source of tools to write with. After all, we don't just write with words: we write with sentences and paragraphs, with imagery and timing, with mood and detachment, with denotation and connotation, with insight and irony, with ideas and emotions, with character and self-understanding: and other people's books are the best school in the world for studying how to do those things. (06/01/2004) Thomas Ferencz (Amanibhavam):  Dear Mr. Donaldson, first of all thank you for anwering my previous question. Your answer to my next one may shed light on a very intriguing problem. I concerns the Seven Words of Power. As far as I know, the words we know from the books are: Melenkurion abatha! Duroc minas mill khabaal! Now please tell me, whether: - the seven words are in fact six:-) - there _are_ seven words, but the seventh one is Yet To Be Revealed - the whole phrase above is _one_ word, and we do not know anything about the other six (this is contradicted by the fact that Elena says about Melenkurion Skyweir that it shares its name with one of the Seven Words) I am really looking forward to your answer. Amanibhavam There are in fact *seven* words, of which only six have ever been revealed. All such lore was hidden in Kevin's Wards, but several of the Wards were never recovered. Presumably Kevin hid the seventh word for the same reason that he concealed the Seventh Ward: he was trying to create a sequence of knowledge (a curriculum) in which people would learn (and earn) their way from one level to the next. The idea is to try to ensure that people only receive knowledge/power when they're ready for it. Now, of course (I mean after "The Second Chronicles") *all* of Kevin's lore has effectively ceased to exist. (Linden's new Staff of Law doesn't even have *runes,* for crying out loud.) And without that lore to give it substance, the seventh word--if anyone chanced to discover it--would be meaningless. (06/01/2004) Todd:  I met you at a fantasy convention in Chicago back in 1983 when I was a disgustingly immature and single minded teenager. After the session during which you and other authors answered questions, I was lucky enough to stand with you and a small group of other people while you answered yet more questions. It was then that you said that you had a third trilogy "mapped out", and to be very frank, I have been waiting for this third trilogy with more anticipation than any literary event. (Perhaps if George Martin continues to take even MORE time in releasing the fourth book of his excellent series, there will be some competition, but that's not likely.) You said something to me that I found (while simple), rather profound. I was completely taken with the inventiveness you displayed in creating Vain, and asked how you came up with him. You looked at me and replied, "I needed him." As a writer myself (after too many years of creative contemplation, I'm writing my first novel of a projected five book series), that answer has helped me a great deal. Whenever I find myself lost, I ask myself, "What do I need?" So, thank you for that simple answer that has helped me immeasurably. And thank you, finally, for ending my own personal twenty-one year wait. While you have expressed doubts concerning your ability to write this series, given the challenges it will present you with, I have every confidence that those are nothing more than the typical insecurities that all writers (well, most that have any common sense) possess, and that these books will crown an already remarkable achievement. Now, a question. How different would The First Chronicles have been had the Lord of the Rings never been written? I think you're giving me too much credit. "I needed him" sounds to me like the kind of answer I give when I'm too tired to actively think about the question. <grin> Still, I'm glad you found my reply useful. If I haven't said so already, I should state clearly that I don't think the "Chronicles" would exist *at all* if LOTR had not been both written and published first. As I've said, Tolkien brought an entire genre back into being. I don't think I could have done that for myself. And Tolkien (importantly aided by his publishers, Ian and Betty Ballantine) also created an entire market, which I certainly could not have done for myself. Just to give you a hint of how deep Tolkien's "enablement" of my work runs: Ian and Betty Ballantine founded Ballantine Books and made LOTR successful; they hired Lin Carter to follow Tolkien's success with his "Adult Fantasy Series"; when Carter's series failed miserably--for obvious reasons--the Ballantines replaced him with Judy-Lynn del Rey; Judy-Lynn then hired her husband, Lester del Rey, to handle fantasy while she edited science fiction; and Lester discovered *me*--but not before first publishing "The Sword of Shannara," which was the first book to follow Tolkien's success, well, successfully (and which was, not coincidentally, a direct Tolkien ripoff). In more ways than one, LOTR literally made what I do possible. (06/01/2004) John Gauker:  I am very excited about another Covenent series. Is there a possibility that there could also be another Gap series? This question appears more than once. Forgive me for saving time (and energy) by only answering it once. Anything is possible; but there will be no "sequel" to the GAP books in the foreseeable future. The problem is simple: I have no ideas for a story that could be set in the future (or even the past) of the GAP books. They feel "finished" to me the way they are; and although I have tried to think of more that I could do, I haven't been able to come up with anything. Ditto for "Mordant's Need," incidentally. On the other hand, I'm very aware that the underlying story of my mystery novels is *not* finished. And my novalla "Penance" seems to imply possibilities which I am so far unable to define. (06/01/2004) Peter Purcell:  Thank you, thank you, thank you!! The excerpt you posted is outstanding - I can't wait until the book is released! But at least I can re-read the posted chapter until then! I'm glad you like it--and I certainly hope you won't be disappointed by what follows. (06/01/2004) Allen Parmenter:  Contemplating the excruciations in the Gap Cycle I wonder if you were at all informed by Elaine Scarry's important book "The Body In Pain". Davies Hyland is a mighty interesting character and I wondered if you took time to study psychological hermaphroditism before writing. You are actually a master ironist - I mean an ironist of big proportions equalled by few in Western literature really.(Hashi covers his eyes to keep the light in but in essence he is actually blind to the situation.) Does your mind naturally generate paradoxes and ironies or do you force yourself to do that? A bit of both? One last question - how about Sigourney Weaver as the always enchanting Sorus Chatelaine, a dowdied up Mark Hamil to play the God-character, Vector Shaheed, and , of course, James Earl Jones to play that transcendant power: Dolph Ubike? Sorry, no, I've never read--or even heard of--Elaine Scarry's book. And no, I didn't do any particular study of psychological hermaphroditism before or while I worked with Davies Hyland. (Perhaps I should have. Then he might not head the list of characters who have reason to complain about me.) But irony comes naturally to me. I don't have to force myself to generate ironies and paradoxes--but occasionally I do have to force myself to *not* generate them (close personal relationships don't always function well on a steady diet of irony). Sigourney Weaver would be good at Sorus Chatelaine--but she would also handle Min Donner well. Personally, I would prefer Anthony Hopkins for Vector Shaheed--that is, if he refuses to play Warden Dios. I think there are several black actors who would be good at Dolph Ubikwe--but the names I want have suddenly fallen out of my head (except for the always stellar Morgan Fairchild). And of course who but Vin Diesel could play Angus? (06/02/2004) Brad Thompson:  SRD, I am a devoted fan of both chronicles who returns to them every few years and reads voraciously from beginning to end. In a weird way, I feel that the excellence of these six books has prevented me from committing to my own works. On the other hand, this is almost certainly an excuse of mine. When I read the chronicles, I am always constructing little stories in my mind to deal with the peripheral races and areas around the land. I know you will never write a novel about the Haruchai or the Giants, but do you have the same urges that I do? Do you fantasize spin-off stories and histories when you write (or read) your books? No, I never "fantasize spin-off stories and histories" in relation to my own books. As I've said before, I'm not a terribly fecund writer. I don't get many ideas. Which is why I milk them for all they're worth when I do get them. <grin> And it's also why I feel that when I do get an idea I must use it. If I ever start turning down ideas, my imagination is going to stop giving them to me. As for letting the "excellence" of the "Covenant" books prevent you from committing to your own writing: yes, that is certainly an excuse. However, it's an excuse with which I'm intimately familiar. I'm not going to describe the long and messy process by which I finally got rid of that excuse. But here's what I learned by going through that process: "Vanity, vanity, all is vanity, sayeth the preacher. There is nothing new under the sun." Nothing, that is, except you. What I've done, or what Tolkien has done, or Shakespeare, or Joseph Conrad, or George Meredith, or Willian Butler Yeats, or Steven Erikson, or Gerard Manley Hopkins: none of that is relevant. The only question that matters is, "What can Brad Thompson do?" And you'll never find out what that is if you don't stop making excuses. (06/02/2004) Scott J. Ecksel:  Dear Mr. Donaldson, Thank you for all that you’ve written and for taking the time to communicate with us here. I find your eloquence as you answer these questions to be as inspiring as your novels and stories themselves. There’s so much I would want to say, but I’m going to limit myself to two comments and one question. Comment: I began reading the Chronicles shortly after they were published, when I was around 11 or 12, and there has been one particular aspect of The Land which has had quite an impact on me: the “health sense” experienced by the denizens of The Land. More than anything else, that idea made The Land always stay in my memory; it made The Land a place I would desperately want to live in. (And I’ll admit I was heartbroken when in The Wounded Land we discovered that the health sense had been lost for the people of The Land and for TC). Through the years, I’ve come to think of health sense as something which isn’t so much unique to The Land but is, rather, something we all possess to a degree when we pay attention to what’s around us. Or, to use TC’s terms, when we think of the landscape as mere “scenery” we have no health sense, but if we were to live life noticing nature and being more attuned to...well, to everything...perhaps we’d be able to better develop our health sense. I know you’ve said on several occasions that you’re not a polemicist, but I have to thank you for planting within me the seeds of my environmental conscience. As I write this, I am listening to the 17-year cicadas singing in the trees outside my window, and I wonder if some of the ills of our society might be more readily resolved if more people had the health sense to notice such beauty. Comment: As a writer myself, it was interesting and encouraging to learn that you like to “fill your head with words” (i.e. read voraciously) and that you use music to create a “cocoon of sound” when you write. I tend to be the same way. In fact, I’ve actually used that same phrase (“fill my head with words”) to describe what it’s like when I go on reading binges (and how necessary they are for me when I go ahead and write). I also seem to write best when I have headphones on. I listen to music that doesn’t interfere with my thoughts (Chopin, Delerium or other ambient music, Peter Gabriel's The Passion and The Long Walk Home, The Lord of the Rings soundtrack, etc.). The music blocks everything else out but doesn’t require me to focus on it...sort of a beautiful white noise. Question: You’ve answered several of the questions I might have posed, so I’m going to ask something very simple: Which Wagner recording do you listen to? I have The Ring on cassettes and have no idea where it was recorded or by whom, and I’ve been considering buying it on CD. Is there a particular version you’d recommend? Best wishes as you continue writing. I’m really looking forward (understatement) to The Last Chronicles. Scott Many thanks for your comments! Under the circumstances, it won't surprise you to hear that *every* professional writer or artist I've ever talked to uses "sound" in some way as insulation against distraction. In fact, "a cocoon of sound" is one of the main requirements for any form of concentration which resembles self-hypnosis--and as far as I'm concerned, writing (like painting or any other art) definitely involves self-hypnosis. How else are we expected to access our unconscious minds while we're awake? Which recording of Wagner's "Ring" cycle do I listen to? It would be easier to name the ones I do *not* listen to (Levine's leaps to mind). But if you're thinking of CDs, you can hardly go wrong with Solti's recording (Nilsson and Hotter are incomparable). Or Boehm's recording, which might be a bit cheaper. However, if you're interested in DVDs, the best available (of an admittedly unsatisfactory lot) is the Boulez/Chereau production. Chereau's "industrial revolution" concept doesn't work very well; but Boulez has towering performers like McIntyre, Altmeyer, Hoffman, and Jones to compensate. Nothing that I've ever seen has moved me as deeply as the Boulez DVD of "The Valkyrie". (06/02/2004) Tom O'Toole:  Mr Donaldson, Thank you for taking the time to answer these questions. You had a letter published in Avengers #98 in 1972. Were you happy with the reply that you got? Do you still read comic books? If so, which ones, and if not, when and why did you stop? Do you still have your collection? Tom Actually, I had *two* letters published by Marvel Comics. I remember nothing about the reply to my letter in Avengers #98. But I won a "no-prize" for my letter in Fantastic Four #?? I stopped reading comics a couple of years ago when my kids stopped reading them with me. Unlike 20-30 years ago, when it was all Avengers and FF, I came to prefer the "X franchise". And I still treasure Starlin's three "infinity gem" limited series. But Marvel regularly wrote out my favorite characters (Havoc, Adam Warlock), and I find I haven't regretted giving up comics. I still have about half of what was once a rather extensive collection (06/02/2004) Peter Hunt:  Mr. Donaldson, Thank you so much for spending the time to answer our questions, particularly given the pressures from your publisher. If it's any consolation, the publisher's urgency is due to *our* eagerness to read your work! I want to reiterate my fondness for the Axbrewder series. I was fortunate enough to buy and read them when you were still Reed Stephens (although I knew it was you). I particularly like "Fought Alone", as it seems like Brew is on the mend. And I'm not talking about his gut wound, obviously. My question relates to Mordant's Need. Did you ever have a map of Mordant, and if so, was there a reason that you didn't include it in the published work? It would have been handy to refer to, particularly while reading the second volume. If a map does exist, is there any chance you would post it to this site? Yes, I did have an exTREMEly rudimentary map for "Mordant's Need." I drew it myself--and if you knew how I draw, you would know that no more need be said. Of course, DEL REY/Ballantine would have had the thing redrawn by a professional, if I had considered it appropriate. But my editor felt it was unnecessary. And I had my own complex reasons for withholding it. The vastly simplified explanation: unlike "Covenant," where the Land is at least a much a character as Mhoram or Foamfollower or Covenant himself, "Mordant's Need" is not about the world in which it takes place. I withheld my map because I didn't want to distract attention from the characters. (Incidentally, this also explains many of the *other* differences between the "Chronicles" and "Mordant's Need".) I'm confident that I never actually threw away that map. On the other hand, I sure can't find it now. Sorry about that. (06/02/2004) Jim:  Dr. Donaldson, i love your books (that i've read). I am currently reading the gap series (3rd book, and i am enjoying that one also) I've wrestled most of my life, and i have just recently taken up Brazilian Jiu Jitsu (a martial art very simialar to wrestling). I was wondering where your interest in Karate comes from, and if you practice any other martial arts. I took up karate because I was commanded to do so by my therapist (and no, I don't want to explain that statement). But then I fell in love with it, and now I couldn't give it up. I only study Shotokan. But that statement is a bit misleading. All three of my senseis have been fairly open-minded, and the second in particular exposed his students to Muay Thai, boxing, Jujitsu, Silat, Kali, and Wing Chun (among others). As for my current sensei, he is now satisfied with my grasp on the Gojo-Ryu kata he taught me, so I'm now learning one of the White Crane ch'uan fa forms. I've also taken a couple of Gracie Brothers seminars, as well as several from Fumio Demura. And I study sparring at a local Kajukembo dojo. With your interest in the martial arts, you might enjoy "The Man Who Fought Alone." (06/02/2004) Esther Freeman:  >except for the always stellar Morgan Fairchild< Presumably the name you mean is Morgan Freeman? This question not meant for publication. Best :-) Please see a deeply embarrassed expression on my face. Yes, of COURSE, I meant Morgan Freeman. My apologies to the entire created cosmos for *that* unique malfunction. (06/03/2004) Thomas May:  Of course, thanks for all your works, and for opening my eyes to reading by my first wife insisting that I read "Thomas Covenant." In reading your written work, you (SRD) seem to "feel" the pain while you're writing. Any truth to my observation? Thanks, Thomas May Earlier I promised some comments about how I write. Here goes. The simple answer to your question is Yes. Writing has never been "fun" for me, for a variety of reasons; but one of them is certainly that I "go through" everything my characters do in the course of a story. My writing "method" is very subjective and, well, let's call it "experiential." Specifically, I try to *become* my point of view (POV) character, and then to see and touch and feel everything that character does. So of course I write everything in the sequence in which my POV experiences it. I start at the beginning of what happens to them, and I stay with them until the end of what happens to them. (This is true even in stories like the GAP books, where I change POV almost constantly. At the beginning of that POV's share of the narrative, I--in essence--create the entire world from scratch from their perspective, and then I live inside his/her head until the narrative shifts to another POV.) Along the way, of course, I try to experience the other characters as vividly as the POV does, to react to them and strive to understand them the same way the POV does. (I've often told my kids that I'm the oldest person in the world. Not in years, of course, but in experience, since I have effectively lived through every one of my stories from the perspective of every one of the significant characters.) The primary advantage of my method is that it helps me engage the reader as strongly as possible. However, there are some disadvantages. One is that my method makes it difficult for me to give all of my significant characters dignity (see my discussion of dignity earlier in this interview), since I am (apparently) constrained by the sympathies and knowledge of the POV. This obstacle I attempt to overcome by knowing my non-POV characters so well, and by articulating them so urgently, that my POV is forced to grant them the dignity which I desire for them. (This, of course, was not a do-able job in the GAP books, since characters like Nick and [at first] Angus don't give a ^#$%# about anyone else's dignity. Hence all the POV shifts in that story. I had to keep moving around in order to give my characters what their companions would not.) And then I work ESPECIALLY hard on the non-POV characters when I rewrite. Consistently the single thing that evolves most when I rewrite is how I articulate the non-POV characters--and how they articulate themselves. Another disadvantage of my method is that it is bloody exHAUSTing. Especially when I shift POV, because then I have to re-create the entire world in different terms, with different assumptions, sympathies, exigencies, and knowledge. Which is why I need *so* much recovery time between big projects--or even between books within a project. There are other disadvantages, but I'll only mention one. So much "engagement" isn't to every reader's taste. Readers either love or loathe what I do, virtually no one is indifferent; and I think the reason is that some people don't want to, or aren't willing to, FEEL as intensely as I ask them to. (And of course this problem is exacerbated in the GAP books, where what I'm asking the reader to FEEL is so intensely unpleasant most of the time.) On the other side, people who *do* want to FEEL when they read tend to value what I do a LOT. (06/03/2004) Revan:  Whom do you consider to best written character(s)? And what is your personal favourite story you've created? As I've said before, I have different favorites at different times for different reasons. If I answered the same question tomorrow, I might give a very different response. But for now.... My best written character? Hashi Lebwohl. My personal favorite story? "The Killing Stroke" (06/03/2004) Scott Ellithorpe:  Mr. Donaldson, I just finished reading the first chapter of the prologue posted on this site. Having also read your earlier concerns regarding your ability to successfully write the 3rd Chronicles, let me say I believe you will succeed. I found a copy of “The Power That Preserves” on my father’s coffee table when I was 14, and was instantly hooked. Just last year I picked up “Lord Fouls Bane” and read all six books (in order this time). It is amazing what you can forget in twenty years (I’m 34 now). I had completely forgotten about Nom, among other things! Looking back I can see how your tale has influenced who I am today. Thank you. I have only two questions. Are hardcover books from the previous Chronicles still in print? If not might there be a re-print, maybe special edition signed by the author :) The paperbacks are usually falling apart by the time I have finished them. Secondly (and obviously completely optional) do you believe in the Creator (God), in the Judeo-Christian sense? Greatest Gratitude Scott Ellithrope P.S. What in the world DID happen to Berek’s white gold ring? ;> Thanks for your reassurance! I've already said all that I'm going to say--and probably much more than I should have said--about my views on "the Creator (God)." At present, the only source I know of for hardcover editions of the first six "Covenant" books is the Science Fiction Book Club: they currently have an omnibus of each trilogy. As I think I've mentioned, Hill House is planning a collector's limited edition of "The Runes of the Earth," and if the response is favorable, Hill House hopes to go back to the earlier books eventually. But right now that's pure speculation. Hill House will have to succeed with "Runes" before they tackle any other Covenant books. (06/03/2004) Earl Craine:  When will 'Runes' be released in Australia? I'm trying to get an answer from my UK publisher. Please post your question again, so I'll remember to reply when *I* get an answer. Or keep your eye on the "news" section of this site, just in case I'm smart enough to post the information there. (06/04/2004) Mike Berg:  I am (as most others here) a huge fan of the TC books, and am anxiously awaiting the Last Chronicles. My question is about artwork... I have seen almost no artwork for the TC books other than the cover art for the various editions. Have artists submitted artwork to you? Is there somewhere on the net with a collection of TC artwork? If I were to create some artwork of my own, would you be interested in seeing it? I have a great hunger for visual representations of the vivid images raised in my head while reading the series. Thanks, -Mike I, on the other hand, have no hunger at all for "visual representations" of anything I write about. Artists do (very) occasionally send art to me, or make their art available to me (e.g. on the 'net), but I secretly wish they wouldn't. Such things have the curious effect of making me feel inadequate. This is difficult to explain; but the plain fact is that I'm not in any useful sense a "visual" person. I don't think in visuals, I think in words. Mentally I "see" with language. This is true in many, many areas of my life. If a blue car drives past me, it may very well be blue until the end of time, but I won't know it's blue unless I look at it and say the word "blue" to myself. When I look at something like a painting, it conveys absolutely nothing to me--until I hear someone talk about it. Then the words seem to bring the painting into being for me. Without the words, the painting might as well not exist as far as I'm concerned. btw, this explains why I love "symbolic" cover art (such as the UK draft cover for "Runes" posted on this site), and always feel sad when my US publishers insist that cover art must depict "a scene from the book." (The Tor/Forge covers for my mystery novels are a wonderful exception.) The US approach to sf/f covers simply doesn't speak to me. So no, please don't send me your art. And don't take it personally. Looking at your art, or anyone else's, simply reminds me of abilites which other people have, but which I entirely lack. (06/04/2004) Bryan:  Mr. Donaldson - I would just like to add my deep appreciation for your works. I've enjoyed them a great deal over the years. Are there any plans for publication of new editions of the First and Second Chronicles of Thomas Convenant to coincide with the publication of Last Chronicles (hard cover or otherwise)? Thank you for your time. Best regards, Bryan Please check the "news" section of this site occasionally for any information that comes my way concerning the re-publication of the earlier "Covenant" books. (06/04/2004) Harry Kanth:  Hi Mr Donaldson, I recently read the five books of the GAP series over a recent holiday (so I had about 8 days) one after the other for the first time. I found myself as engrossed as during my reading of the Chronicles of TC but in a different way. It is diffult to explain but the energy and emotions the GAP series raised in me were very different to my reading of the Chronicles. Did you specifically aim to achieve this in your readers or was that just a natural result of the story being told? I have by the way ordered your mystery books recently and plan to see how these effect me within the next week or so. Without trying to 'creep', talent in a writer in my view results in quality stories in whatever genre, so I do not think I will be disappointed! My second question is a technical one in that as a writer when you write in different genres do you have a special method of going into a paticular state of mind to write in that genre or do you simply sit down and get on with the job at hand? Thank you for taking the time to read this and also for very kindly answering my earlier questions. I don't set out to achieve different effects when I write different stories. I just try to tell each story as well as I can. But since each story is inherently different (because each story is by its very nature *specific*: it deals with very particular people in very individual settings and situations), each requires me to do different things in order to tell it well. Each story demands a different style, a different mood (and style and mood depend on language, imagery, timing, a whole host of factors); each deals in different themes (because different individuals face different issues); each needs a different length in order to express itself. Therefore each story *should* achieve a different effect, and each of these effects is (ideally) unique to its specific story. Writers who try to achieve the same effects that they have achieved before, or that other writers have achieved, are pretty much wasting their time--and the reader's. When I find that I need to change genres (because the story I want to tell requires it), my only--what shall I call it?--*external* form of preparation is to do a fair amount of extra reading in the genre I'm about to attempt. I try to fill my head with the conventions and expectations and language of that genre so I'll know what I'm, in a manner of speaking, "up against" in the reader's mind. Other than that, my preparation tends to be pretty much the same for every story, regardless of genre: I need to know where I'm going, and why, and which technical tools (e.g. narrative stance) will best help me get there. (06/04/2004) Russell:   Just finished reading "Tull's Tale." Man, the destruction of the Unhomed always gets to me. Thanks for recommending Steve Erikson, I just recieved my "Gardens of the Moon" from a special order, looking forward to it. Question on pronunciation ( your pronunciation ) of "Bhrathair, Bhrathairealm." Well, that depends on whether or not you can aspirate a "b" as you do the "t" in "the." If you can't, here's how I pronounce those names: Bhrathair: BRA-there Bhrathairealm: BRA-there-realm (but run "there" and "realm" together so that they only have one "r". (06/04/2004) Anonymous:  Thank you sir for your talent and work. Your books have changed my life from an early age. For over twenty years TCoTC has remained, and always will be, my favorite series. You have my respect, my admiration and a sincere love for the worlds you have made including your other works such as the GAP series and novels. I wish I had more time to sing your praises, but instead here are some questions. How important is "Empathy" to you as a writer and to being a writer in general. In my personal life I am very empathetic with people, events and places. How can I use the inherent "empathy" in my personality to make myself a better writer. In the "The Power That Preserves" (Hail SRD! er, I mean Hail YOU! *grin*) my question is about Mhoram and the Ritual of Desecration. In the chapter of the same name it's said that "That secret contained might-might which the Lords had failed to discover because of their Oath of Peace-might which could be used to preserve as well as destroy. Despair was not the only unlocking emotion." I have always felt this reasoning was self explanatory. Others have spoken about how Kevin, while not being bound by the Oath of Peace certainly demonstrated it in his dealings with the Haruchai. He did not destroy them using his power instead he gave them gifts so powerful they in turn pledged their Vow. I know you don't like to dictate to your readers how they should interpret your books. Funny enough by writing this out however I have answered my own question. What better example do we need other than Kevin's willingness and subsequent desperate act to desecrate the Land and lay waste to it to show how different the old Lords were from any Oath of Peace? LOL. I guess my question is, do you feel my reasoning and thought process sound in regards to this issue. I don't feel the new lords were "afraid" of power, which is what some have stipulated. I simply feel the new Lords did not have the comprehension or knowledge. It's like trying to fit a square peg in a round hole, till one day someone has an epiphany like Lord Mhoram and intuition leads to the right answer. IE. "Thinking outside the Box". Thank you again sir, your willingness to interact with your fans in this medium, in spite of your value for privacy and need to work on TLCoTC this line of fan questioning and answers from you personally is a tribute and testimony to you as a writer, person and human being. If by "empathy" you mean "the ability to relate accurately--and non-judgmentally--to what someone else is feeling," then empathy is crucial to the kind of story-telling I try to do. In effect, I try to put myself into as many different heads as possible, to see and feel the world through as many different sets of eyes as I can. And I want all of those heads to be fundamentally separate from mine (in other words, none of my characters is "me in disguise"). And I want to inhabit them with the same loyalty of perspective that real people have for their own points of view. When I talk about "engagement" and "becoming my characters," I'm very serious; and I couldn't even attempt those things without empathy--and imagination. But there are as many different approaches to writing as there are writers, and I can't begin to guess how important empathy is to other writers. Certainly, judging by their books, some writers appear to do without empathy entirely. Others convey the impression that their personal engagement is real, but shallow. What the truth may be, I can't say. I can only speak for myself. I can't honestly say that I understand your question about Kevin and Mhoram, the Ritual of Desecration and the Oath of Peace. But here's what I *can* say. Kevin saved the Bloodguard (and the Ranyhyn, and the Unhomed, and most of the people of the Land) because he genuinely cared about them. (Yes, I know there were other factors as well.) And he performed the Ritual of Desecration for essentially the same reason: he cared more intensely than he could stand, and so the prospect of failure became unendurable. Attempting to avoid the dangers which result when action is ruled by extreme emotion, the new Lords codified a moral principle in the form of the Oath of Peace. (It's the same principle Gichin Funakoshi proposed when he wrote, "If your hand goes forth, withhold your anger. If your anger goes forth, withhold your hand.") But every moral precept has its disadvantages--just as every strength is also a weakness. The advantage of the Oath of Peace was that it taught the people of the Land not to act on the basis of strong emotion. The disadvantage was, well, it taught the people of the Land not to act on the basis of strong emotion. In other words, it taught them to distrust strong emotions (of which there are too many to be covered by any one precept), and thus it left them without constructive outlets for their strong emotions. Mhoram's great insight was that strong emotions themselves are not the real problem: the real problem is the lack of constructive outlets. The key to "constructive outlets," of course, is the ability to act on strong emotions while still using good judgment. That's a learned ability, and it can only be learned by people who first *trust* their strong emotions (i.e. trust themselves). The core of Kevin's dilemma is that he felt despair because he did not trust himself. Does that help? I hope so. If it doesn't, maybe you shouldn't tell me. <grin> I don't think I can do better. (06/04/2004) C.S.:  After having discussed this with my friends who have also read the Second Chronicles, we have agreed that the sole purpose of "The One Tree" is to create the availability of Nom for "White Gold Wielder". Is this true, or was there some deeper purpose that did not come across so clearly? Please. Do you really I think I would--in effect--waste an entire book just so I could introduce one character? "The One Tree" is crucial to "The Second Chronicles" in far more ways than I could possibly list here. However, I'll just mention that if Vain weren't partially transformed by the crisis of the One Tree, and if Findail weren't forced to trail after Covenant and Linden for so long, the eventual creation of a new Staff of Law would have been entirely impossible. (06/06/2004) James:  Greetings, Mr. Donaldson. Thanks much for allowing me to pose some questions. (1) Why did Linden never make an attempt to use (or why did it never occur to anyone that she make an attempt to use) such things as the krill (which Covenant allowed Sunder to use), or Hollian's lianar (who died using it in an effort to alter the Sunbane), or Sunder's orcrest? At least until the time came for her to have to make use of Covenant's white gold ring. (2) Vain demonstrated his ability to defend himself and others mightily on several occasions. Why did he refrain from going back into Revelstone or near the Clave the 2nd time? Couldn't he have used his hand gestures of power to protect against attacks aimed at him? (3) How was the Creator able to offer to do certain things for Covenant at the end of The Power that Preserves (or able to heal Covenant from his deadly reaction to the antivenom in the "real" world), and not break the Arch of Time in so doing? (4) How is "Atiaran" pronounced? Thanks again! James OK, here goes. 1) There are too many reasons to list here (mainly because I'm sure I'll forget some of them), but I'll give you a few. a) Linden is hanging by her fingernails trying to cope with her vulnerability to the Sunbane, and she can't handle much more. b) She fears Covenant's surrender to Lord Foul, and all of her attention is focused on him. c) Nothing in her background or personality has prepared her to be a "warrior," and the whole idea of using "implements of power" as weapons goes against her nature. d) None of the "implements" you mention *belongs* to her. She isn't the kind of person who just takes precious things away from other people. e) The idea of "power" itself is foreign to her, and she has no inherent grasp on how to use it or what it can do. Only her desperation in Kiril Threndor, and the oblique knowledge gained by being possessed by a Raver, enable her to use Covenant's ring, and then the new Staff, at the end of the story. 2) Vain certainly has the power to defend himself. But he is, in a manner of speaking, a robot with very limited programming. He protects himself, and attacks Sunbane-warpped ur-viles: that's it. (With the one obvious exception that Covenant is allowed to command him once.) Other than that, he only does what he has to do to serve the purpose for which he was made. So, for example, he enters Revelstone the first time because he needs the iron heels of the old Staff, but stays outside the second time because (in terms of his programming) fighting the Clave is irrelevant to his purpose. Covenant and Linden are irrelevant to his purpose. Only Findail and the ring matter. (Remember that Vain's makers don't want to expose him to dangers--e.g. the full force of the Banefire--which may be powerful enough to damage him.) 3) OK, that does it. I'm not going to answer any more questions about the Creator(s). I think I've figured out what's wrong (I mean intellectually wrong) with this line of inquiry. It's rather like asking me whether Patrick Stewart and Leonard Nimoy ever get together when their Federation duties send them to Earth. An important and necessary distinction between "reality" and "fiction" is being blurred. The Land, the Arch of Time, and the Creator do not exist: I made them all up. That's what gives fiction its power. When fiction "works," the author's imagination is speaking directly to the reader's imagination, and thus a community which enriches both is brought into being. But this process depends entirely upon imagination, fabrication, invention, "lies" (falsehoods which have the gift of being "true" instead of "factual"). So any question that implies some sort of necessary relationship between my "fiction" and our "reality" is inherently illogical. As to your specific question: When the Creator addresses and even effects Covenant, Covenant is in a state of transition between my fictional worlds (my fictional "Land" and my fictional "reality"). He isn't actually in the Land, but he hasn't actually returned to his "real world" yet. Therefore things literally "could go either way." And the same is true for Covenant's physical condition in my fictional "reality." Just because he has a negative reaction to the antivennin doesn't mean he can't "pull through." Stranger things happen in *our* reality all the time. 4) As far as I'm concerned, you can pronounce anything in my books any way you want to. You earned the sovereign right to do so by reading the books. But I understand your curiosity. As it happens, I pronounce Atiaran: A-tea-ARE-an. That first A is long (like "a cat") rather than short ("ah"). (06/07/2004) Jonathan Meakin:  Dear Mr. Donaldson, I suspect you may well not know where your reading tour for "Runes of the Earth" will take you. However, are any visits to western Canada even on the radar? Cheers, Jonathan Meakin Sorry, professional visits to Canada are highly unlikely. Canadian publishing is a separate business (although often closely tied to US publishing), and the population of Canada is too small (no aspersion intended) to justify the (rather high) costs of a tour. Of course, there are exceptions; but typically Canadian publishers reserve their cost-intensive promotions for Canadian authors (as I think they should). (06/07/2004) Victor:  Hello. Long time TC reader, first time caller. Just curious as to what was the initial concept ro character idea for the Covenant series. Did you say, "I want to write a fantasy series" and proceed from there, or did you have a Thomas Covenant character lurking around in your brain for some time before discovering a setting for him to exist? What was the spark? And if you'll indulge me, in the initial creation of your story, was there ever a dramatically different (or alternate) direction the story almost headed before your deciding to go with the story we hold in our hands today? Thank you for the many hours of enjoyment your books have provided. Short answers first. Since I can't write at all unless I know where I'm going in a story, what the ending (purpose) of a story will be, my stories never change directions while I work on them. Details about how to get from here to there sometimes change (more often as I get older) as I get new ideas and become more familiar with the characters. But the shape and direction of the story never change in any substantive sense. <sigh> There's a whole long story behind the initial conception of the first "Covenant" trilogy. I'll try to keep it short. 1) Reading LOTR in college inspired in me a desire to write fantasy, if I ever got an idea. Tolkien was generally sneered at by my peers and teachers in college and graduate school. However, I felt sure that they were wrong, although I couldn't at the time explain why. As I said to myself back in those days (1966-1971), LOTR convinced me that "fantasy was fit work for a man to do." Unfortunately, I had no ideas for a fantasy. 2) During xmas vacation in 1970, I had what Patricia A. McKillip has called a "tail of the comet" experience. I remember exactly where I was when it happened, but I won't bore you with the details. Out of (apparently) nowhere, my head was set fire by the notion (the tail of the comet) of a man from the "real world" confronting the archetypal evil of a "fantasy world" and emerging victorious because he knew that the "fantasy world" was not "real." This was terribly exciting to me, it felt like a mind-altering experience--BUT it was completely static. I had no story: no information about the man, no information about the world, no information about the evil. Nothing. It was fiery as all hell, but it simply didn't go anywhere. 3) In the spring of 1972, I attended the college graduation of one of my sisters. As it happened, my parents were in the US, they both attended the graduation as well; and while we were in town, my father, the orthopedic missionary, was asked to speak at the local Presbyterian church. Well, he was no preacher, so whenever he was asked to speak he described some aspect of his work. On this particular occasion, he spoke about his work with lepers. This, of course, was all stuff I'd heard before; but as I half listened on this particular occasion, I suddenly thought: if a man rejects a "fantasy world," he should be someone for whom fantasy is infinitely preferrable to reality. A man with a good life who experiences a horrible fantasy is only too grateful to label it a nightmare: that is mere self-interest. But if a man with a horrible life experiences a wonderful fantasy and *still* rejects it, that is not self-interest: it is a statement of principle; a rigorous and expensive and even self-sacrificing conviction about the nature of both "reality" and "importance"; a--in effect--religious affirmation. And *whose* "real life," I suddenly asked myself, could possibly be worse than a leper's? Every essential detail about the first "Covenant" trilogy grew from that fortuitous intersection of leprosy and unbelief. NOW I had a story. (06/08/2004) Rob Smith:  Steve, Not so much a question - more an observation. In an earlier response you said that the fact your readership responded more to the Covenant novels than the Gap series used to cause you some discomfort (but you got over it - good for you <grin>). I just wanted to let you know that for me at least the Gap series has taken over as my favourite of your works. It was a gradual process over many re-readings and I think I've identified at least one of the reasons. There is no inherently evil character in the GAP series. Oh there are lot's of villainous types who are willing to sacrifice pretty much everyone & everything else to achieve their own ends (Holt etc.) and the likes of Angus who, as a damaged individual, tries to damage everything and everyone else, but there isn't an equivalent of Foul. Foul is different. Whilst it might be argued his intent is to break the arch of time his methods seem cruel for no other reason than he thinks it's fun - He laughs at Lepers. (I know you don't like Tolkein comparisons but I have the same issue with Sauron who is nasty just because he can be.) Having said all that the next time I re-read Covenant (in preparation for Runes in October) I'll probably discover more new stuff and it might take over as favourite again - Certainly The Wounded Land is (for me) the strongest single volume of any of your series' ("How do you hurt a man who has lost everything - give him back something broken" - That is truly cold man!) By the way - in spending your valuable time answering these questions you are doing your fanbase an incredible favour and we salute you. (Just don't use us as an excuse for delaying the next volume - right!) I understand what you're saying, but I'm not sure I agree. From my perspective, the "evil" in the GAP books--and "Mordant's Need"--is pretty much the same as the "evil" in "Covenant": it's all just Despite in one form or another. (Do remember that Lord Foul has what he considers a legitimate grievance. And all of that laughing at lepers can be seen as tactical: of course it expresses a certain inherent contempt--as does Holt's treatment of, say, his mother--but its primary purpose is, arguably, to manipulate.) The difference (just my opinion, folks: I'm not trying to lay down the law here) is one of *scale*. Lord Foul is an explicitly archetypal character (hence the crashing lack of subtlety of his name). Men like Holt Fasner and Master Eremis are (deliberately) more "human-scaled": they have more of the dimensions and limitations that real people have; they are less "single" or "pure" in their natures than Lord Foul is. As a result, the GAP books and "Mordant's Need" appear to be less about GOOD vs EVIL and more about good people vs bad people. But one of the many points that I'm trying to get at in stories like the GAP books and "Mordant's Need" is that the essential themes remain the same. Putting the same point another way (in a floundering attempt to be clear): sure, Lord Foul is a "trapped god," while Holt and Eremis are not; but all three of them would probably behave disdainfully and even destructively no matter where they happened to be, even if they somehow achieved their hearts' desires. (06/08/2004) James DiBenedetto:  This might be asking you to give too much away (in which case, please accept my apologies and ignore the question), but since you're probably not going to be able to answer questions for the forseeable future, and since October is still 4 long months away, I'll ask... Can you give us a list of the chapter titles for Runes, and/or the titles of the books/sections that Runes is broken up into? I'm not sure my publishers would want me to meet your request, but I'll risk their disapproval to this extent. The Prologue has five chapters: Mother's Son Gathering Defenses In Spite of Her Malice The Cost of Love and Despair (06/08/2004) David :  Mr, Donaldson: First off, let me say thank you for such incredible writings. My friend whom I used to work with at my old job kept telling me and telling me, "Man, you have GOT to read Stephen R. Donaldson!" So I broke down and bought a copy of Lord Foul's Bane. Yeah, he was right. I was hooked. After that, I read the Gap and REALLY fell in love with that story. My last job was very tedious, boring and sometimes stressful with the amount of overtime we were made to do. Every break I had at work I was reading your books and forgetting about everything in the meantimee, and I have to admit, they helped keep me going. And when I was working, I could not stop thinking about what was going to happen in the next chapter and was eager to get back to turning pages. Your stories also helped inspire me and grow on a very creative level as well since I'm an artist myself and loved drawing my own interpretations of your characters. Anyway, what I wanted to ask you was your opinion concerning the required reading of literature in schools. I notice in text books and novels assigned by teachers there are hardly any fantasy or science fiction genres listed save for books in older sci-fi classics such as Farhenheit 451 or Frankenstein. Now in your opinion, why do you suppose we don't see more of the fantasy/sci-fi genre in schools as opposed to the amount of realistic or historical fiction? Doyou think the school boards don't feel the genre should be taken as seriously as Mark Twain or Chaucer? I mean, does the genre matter as long as the main ideas, themes and character development are strong and well-written, and if you can also learn something valuable? Just something that's been on my mind for awhile, so I thought I'd ask someone who was splendid at writing in many different genres. :) Take care and have a good day! -Dutch I should probably say far more often than I do that I'm grateful for all of the compliments, congratulations, and kindness I've received in the course of this interview. You all are very nice to me, and I appreciate it. IMNSHO, the reading curriculum in high schools (and even middle schools) is explicitly designed to teach students how to hate reading. I've watched my children suffer through their reading assignments for many years, and my natural reaction is one of unvarnished outrage. (Of course, the same thing was true when I went through school; but fortunately I became an obsessive reader long before the schools tried to stamp it out of me.) But the problem as I see it is not one of genre (although there is an enormous amount of intellectual prejudice out there against "popular" genres like fantasy, science fiction, and mysteries), but of "age-appropriate-ness" (if you'll forgive such an unwieldy term). 30+ years ago, I was sitting in an airport once when a young girl plopped herself down beside me. As it happened, I was reading "The Great Gatsby." The girl glanced over at my book and said (and I swear I'm not making this up), "We read that in 8th grade. I thought it was pretty superficial." Well, "The Great Gatsby" is a great book--for adults. For children it is at best a terrible waste of time, and at worst a destructive experience. Or a contrary example. My dear son, of whom I am very proud (and who will forgive me for revealing this), discovered the Piers Anthony "Xanth" books at age 12. He loved them (while I secretly cringed). And because he loved them, he kept reading. And naturally his tastes matured as he did. The result is a man for whom books are a source of joy instead of a form of torture. Why do schools do this? Beats the by-products out of me. I'm sure that intellectual prejudice plays a role. So does the distorted conviction that children should read books which are somehow "good for them." So does the way parents sue school systems whenever their children read books which expand their minds. Whatever the explanation, it's perfectly obvious that our educational system has nothing to do with education: it's a babysitting service designed to replicate the worst qualities of the parents. Now, aren't you glad you asked? <grin> (06/08/2004) Cate:  Stephen, Just don't ever die, OK? ; ) Promise you will keep writing and keeping us happy. OK, OK. I PROMISE I will NEVER DIE. How's that? <grin> And none of this "living on in the hearts of my readers" nonsense for me. I'm just going to go out there and NEVER DIE. What a relief. (06/09/2004) John McCann:  I've been a fan of yours since highschool (before there were barcodes on the back of the trilogy). I actually read the TC trilogy before reading LOTR. Making you the founding father of my interest in fantasy. TC was an annual ritual for me while I was waiting for the second trilogy to be completed. Since the completion of the second trilogy I've read everything of yours as soon as I was aware of it except the Gap books. For the most part I have loved everthing. I reread all six books in 2000, the first time in 15 years. They were far better than I remembered. Rereading them was such a pleasure. For Christmas a couple years ago I gave a friend the UK omnibus edition of the Man who books. Somewhere it stated these editions were revised. I have the old ballantine paperbacks. Are here any substantial differences between the originals and the newer editions? Will the Man who tried to Get Away also be a revised editon? BTW I enjoyed "The Man Who Fought Alone" more than any novel of yours since "The Woundwd Land." What would you suggest for someone who really wants to finish the Gap cycle but can't imagine starting over again at "The Real Story" I read the first 3 as they were released and like the 3rd the best of those, but by the time I got "Chaos and Order" (a pre release copy even) I felt lost and never got more than 30 pages into it. This is coming from a person who has already picked up his copy of Lord Fouls Bane to refresh his memory for the upcoming "Runes of the Earth". All three of the "Reed Stephens" novels ("The Man Who Killed His Brother," "The Man Who Risked His Partner," and "The Man Who Tried to Get Away") were *slightly* revised for their re-release by Tor/Forge in the US and Orion in the UK. I don't believe in attempting substantial revisions of older work: I'm not the man I was when I wrote those books, and I think I would damage their integrity if I altered them to suit my current perspective. So I just did a little polishing on the prose so that it would read more smoothly. If you compared the old Ballantine editions with the modern versions line by line, you would soon see how truly minor the changes are. Gee, what *can* I suggest for a reader who can't stand to revisit "The Real Story"? Well, if you also can't stand to revisit "Forbidden Knowledge" (affectionately known as "Forbidden Cannelloni"), then my only suggestion is to re-read "A Dark and Hungry God Arises" (affectionately known as "Dark and Hung"). (06/09/2004) Anonymous:  LOL!!! Well put sir! (In reguards to the education spiel) *Wonders if he spelled spiel right* Hmm..Sh?....Screw it. Have a wonderful day sir. I know I will. Oh! And great books man. Thet are greatly appreciated. heh. Thank You J. Depp Well, I probably shouldn't have gone off on our educational system the way I did. I know for a fact that there are many *many* excellent teachers out there, and some of them are actually able to triumph over the curriculum imposed on them. But our educational system itself, like so many of our systems in this country.... Ah, well. (06/09/2004) Bryan Tannehill:  Dear Mr. Donaldson, I first read The First Chronicles at the end of my 7th grade year in 1988 at the behest of one of my favorite (and crustiest) teachers. Your description of the Land and it's inhabitants evoked emotions in a way no books have done before or since. Fast forward to 1998 when I'm stuck in the middle of nowhere (1 hour drive to the nearest McDonald's, 2 to nearest Wal*Mart) with no more than an internet connection as a lifeline. I met a woman on the net a continent away whose alias was Linden_Avery. I contacted her using your books as a starting point for conversation. Well, we've been married for four years. On the inside, our wedding rings bear the inscription "There is also love in the world." The question that goes with this long winded story is whether you are surprised by the strong emotional reaction the Covenant series seems to cause? People seem to either love or hate your works and style, and in those who love them they seem to strike a deep emotional chord. What in your writing do you attribute this effect to? Oh by the way, thanks, from the both of us, for brining us together. Bryan & Janis Tannehill Just don't blame *me* if your relationship breaks up. <grin> I had nothing to do with it, honest. I mean, I wasn't even *there.* I suppose I'm *not* surprised by the strong emotional reactions that people have to my work. I've discussed the issue as I see it at various points during this interview. My writing (if the writing can in any sense be distinguished from the stories being written) is explicitly and deliberately emotional--far more overtly so than virtually all of the writing I've read. My characters and I are unusually naked in our needs and passions. Some people respond strongly to such openness (elsewhere in this interview I call it "engagement") while others are repulsed or even threatened by it. Put it this way: what's your reaction when you see someone you know sobbing openly? I know from personal experience that my reaction is a deep and almost irrefusable desire to put my arms around that person and comfort him/her. And I also know from personal experience that other people feel a deep and irrefusable desire to leave the room. (At least that's what they do when *I'm* sobbing. <rueful smile>) Well, readers of the latter type are unlikely to feel anything except disgust when they try to read one of my books. (06/09/2004) David :  I enjoy the names you give your characters, but I think I'm having trouble with proper way they some of them should be pronounced, notably names such as Mikka Vaseczk. How do you pronounce her last name? I also had doubts about "Ubikwe" and "Waynhim". By the way, I noticed one of the questions earlier had been brought up about what actors would play well as what characters in the Gap. You mentioned Vin Diesel would be a good Angus. Now I know this is your story, but I have to admit, that took me WAY by surprise. :) For some reason, John Goodman was the first person I visualized. :) -Dutch Pronunciation. There *is* no correct way to pronounce the names in my books. Honest. *You're* the reader: you have the right to pronounce anything the way you want. Of course, I have my own pronunciation, but I really don't want to impose it on anyone. With that in mind: Mikka Vaseczk (Mikka rhymes with FLICK-ah, and in VAS-ah-check the VAS-ah is pronounced like the "vase" in "vaseline") Ubikwe (you-BICK-way) Waynhim (WAY-n-him) John Goodman for Angus? I can't see it. Certainly Goodman has far more "range" as an actor than Vin Diesel has shown so far; but I've never seen Goodman produce anything that resembles the squalor of Angus' early malice. Diesel could do the malice (I'm not sure about the squalor). (06/09/2004) Peter Purcell:  Thank you for answering my prior questions. I just received a first edition signed copy (in GREAT condition) of "Reave the Just and Other Tales". It's outstanding! A thought occured to me - please accept my apologies if it's an inappropriate request of a famous author! Would you (or your publishers) offer your Kevins Watch fans & friends an opportunity to purchase a "special" Kevins Watch signed first edition? [Or are the logistics of fulfilling such a request so complex that it's rude of me to ask!? If so, again accept my apologies!!] Otherwise, your site mentions planned tours. If your planning to tour the Washington DC area, I could get a signed edition in person. That would be WAY cool. [Some of us can't come to Elohimfest!!] Best regards and sympathies for the hectic times ahead for you as you described in an earlier post! The problem is partly one of logistics and partly one of cost. Until Kevin's Watch's membership numbers in the (high) thousands, my publishers simply couldn't make enough money from a special Kevin's Watch edition to justify the many complications of producing such an edition. Books may seem expensive enough already, but publishers actually get to keep very little of that money. Without sheer *volume* they would all go out of business--unless they, say, tripled the price of books. (06/09/2004) Mark Dickerson:  Your series "Chronicles of Thomas Covenant" was the most amazing series i'd ever read. It was my favorite set of books to read. The two tearjerking moments were when we thought FoamFollower died, and the retelling of end of the giants in the second series. I've always looked for a new set of books - imagine my joy at hearing that you're writing more (though i'm guessing that (sadly) it won't be from Thomas Covenants viewpoint as he's departed). I know, i know - so far there isn't a question.. Well - my partner just made some peach and lime jam which he says is delicious - and from what i remember, aliantha supposedly tasted similar to peaches and limes - here's the question - would you like a jar? I'm sure your partner's jam *is* delicious. But please don't send any to me. Jam doesn't get eaten at my house. (06/10/2004) Jeremy Gauker:  Mr. Donaldson, Thank you for sharing your stories with us. No other author has moved me in so many different ways. Until recently, I had only read the Chronicles of Thomas Covenant and The Gap cycle. Those alone were enough for me to say you are my favorite author. Currently, I am reading Reave the Just an other tales and have just finished Penance. I am now avidly searching for anything published in your name. My question is: Do you have any plans(or ideas) to write another science fiction novel or series? Again, thank you for your stories and your precious time. The previous Gauker was my Dad, who intrduced Covenant to me. I think I mentioned earlier in this interview that my only (extremely) tentative plan for the future (after "The Last Chronicles") is to write one more mystery novel. This is normal for me: I don't try to think that far ahead, or in that way. My goal is always to concentrate exclusively on the story at hand, and to let ideas for future stories reveal themselves as they see fit. Sometimes I have ideas tucked away in the back of my head: sometimes I don't. But in either case, I pay no attention. Instead I focus on what I'm actually writing. (06/10/2004) Will Reidhead:  Dear Mr Donaldson, Thank you for answering our questions and thank you for committing yourself to another 10 years of work - for our pleasure! I have always been intrigued by your choice of obscure words. In a previous question you responded that you collect such words for later use in your work. I have come to savor these words for their sound and texture, and don't even bother to look up most of the ones I don't know. I am curious though, since you presumably know their meanings, do you always employ them in their strictly intended usage? A second question: in a recent reply, you quoted the Giants' "Joy is in the ears that hear." Do you find yourself frequently quoting your characters in your everyday life, and if so, how do people respond? By the way, my mother passed on Lord Foul's Bane to me when I was 13. However, I was mortified when on page 19 Convenant had some fairly sexual thoughts about a woman. I couldn't bear the idea of my mother knowing I had read such things, so I lied to her and told her I gave up on the book on page 18! I do try to use words "correctly." But "correctness" in language is not a simple matter. Words often have several meanings, some of which are much less commonly used than others; but I have no qualms about using the least common meaning of a word. Indeed, I have no qualms about using words which have become so uncommon that they no longer appear in modern dictionaries. And then there is the interesting distinction between denotation (literal meaning) and connotation (implied meaning). Connotation often has more effect on communication than denotation does. But connotation is inherently more, well, debatable than denotation; and at a certain point the whole question of "correctness" becomes moot. No, I never go around quoting myself in daily life. I only do so in contexts like this interview, where virtually every participant shares a body of knowledge, and where most of the participants like hearing such quotes. In my "real" life, I know very VERY few people who actually read my books. And I know NObody who enjoys such conversational gambits as, "As I wrote in my book XYZ...." (06/10/2004) Paul:  Do you have an opinion on the publication of twelve (or so) volumes of notes, extracts, original versions etc by Tolkien's son? Can it be justified because of the way Tolkien created a whole mythos that predated LOTR by several decades or is it merely pillaging? I tend towards the former, primarily because The Silmarillion was completed by his son and not bad at all, and some of the lost stories add a lot to the tale. To put the above a different way, what would you think of the publication of YOUR notes and annotated texts etc after you shuffled off this mortal coil?! Would the lack of a world mythos approach in your work make it a rather pointless addition or would we learn more than we already know via the books? Another related and rather morbid question - if you were to pop your clogs today (a quaint Brit saying) what would you leave behind in terms of the last three books of the Final Chronicles (or do they only exist in your head at present)? One final request - when you have proofread the new book, will you let us know how many pages it works out at please! Thanks! Grave-robbing is an ancient and (in some circles) respected tradition. I'm not at all sure how Tolkien would feel about what's been done with his unpublished notes etc. since his death. But there's no stopping the human impulse to plunder the past. In my case, however, there won't be anything to plunder. My notes consist primarily of sentence fragments and (apparently) unmotivated questions, and would be opaque to anyone else. Ditto my annotated texts, such as they are. So nothing exists which could be plundered (or completed) by anyone. The obvious exception is my journeyman-work, my "juvenalia": everything that I wrote before "Lord Foul's Bane". But such things reside among my collected papers at the Kent State University Libraries, and are only available to scholars doing research. KSU would win a juicy lawsuit if anyone took that stuff and published it. And I would die of embarrassment--which would be a problem, of course, since otherwise I'm not going to die. <grin> I'll be happy to let people know the page-count for "Runes" when I've seen the final proofs. But you may have to jog my memory. (06/10/2004) Sean Casey:  Stephen, I'm currently doing a Creative Writing degree and my lecturer for my Level 2 Prose fiction module is doing PhD research on the novel. In particular, he's looking at the leitmotif in literature. Naturally, I offered to lend him The Real Story. He said that the afterword was 'most interesting' and told me a bit about where his studies had taken him. He's read a lot of Thomas Mann, who apparently was a Wagner fan and wanted to translate his musical ideas into literature. He also mentioned the 'Homeric epithet' and cited examples like 'wine-dark sea' and 'swift-footed Achilles' as early examples of the literary leitmotif. How much of this is familiar to you and was it an influence on the creation of the style you used in the Gap series? I read your comments on who might play Gap characters with a wry smile. I've always pictured Angus as a fatter, uglier version of James Hetfield (lead singer of my own musical muse, Metallica) after seeing a photo of him snarling into a mic. What about Tom Cruise for Nick? I studied Thomas Mann in graduate school, and was dimly aware of his interest in Wagner. On the other hand, I know next to nothing about Homer. But I'm told that Homer was essentially an oral poet, and that his use of recurring phrases (and even entire paragraphs) was intended primarily as a mnemonic device (for the audience as well as the poet) rather than as a means of thematic development. But to the extent that I'm conscious of what I'm doing (which may be more than you think--and less than I think), I developed my own version of Wagner's leitmotifs myself. And I started working on it long before I reached the GAP books. So, no, Mann and Homer were not conscious influences. Cruise as Nick? Well, he plays "bad guys" well. And he has the look of a man who is attractive to women precisely because he secretly despises them--which would fit Nick nicely. But he's too "smarmy" for me. How about Ralph Fiennes (sp?)? (06/10/2004) Lord Fool:  Thank you for answering my last question. Now I'm back with tougher ones :) My questions consern the limitations of Creators. The rule is simple: once you've finished your creation, you can't affect to it any way without destroying the whole thing. ("Even ultimate power has limitations", and so on.) So, 1) In the end of "The Chronicles", the Creator of the alternative Earth offered Covenant the possibility of living the rest of his life in the Land as a hero. How could that have been possible, since sending Covenant back to the Land the Creator would had have to make some sort of "way" to the Land, thus interfering with his creation? 2) Although Creators have no power concerning their own creations, they seem to be able to meddle with other Creators' works. The Land's Creator could be there talking, deciding who of all the white gold carriers of our world exactly was going to be summoned by Drool the Cavewight, and in the end giving Covenant's body the energy to keep on living. You said earlier in this interview that the Land's Creator didn't have to ask permissions for his actions in the "real world" from the "real world's" Creator. Is this because "our" Creator couldn't have stopped other Creators meddling with his own creation anyway? And, if a Creator steps in in someone else's creation, how much power does he have there? Unlimited, perhaps? 3) If a Creator has a *lot* of power in other Creator's creation, couldn't it be possible for one Creator to ask help from other Creators? Like, "you go and fix the errors in my world, and I'll put your world in order". And a bonus question: After reading my comment, can you ever stand the word "Creator" any more? :) Sorry. I've already OD'ed on "Creator" questions. I tried to explain why earlier. So please accept my regrets--and trust your own judgment. (06/10/2004) Anonymous:  This is not a question as much as some top of mind thoughts that really don't need to be put on the web. First, thanks for responding to the questions. What a great service you are providing! I know I really enjoy the interaction and getting some insight on your thought process and all the different series that you have written. While I am saddened that you will have to cut back a bit, I understand the need to complete your various projects and look forward to the one you can't really talk about yet. My real comment was to give you some honest feedback on Mordant & GAP. (I figure you get enough questions and comment regarding TC. Obviously, TC rates as my favorites all time. I think I have gotten to the point where I have memorized whole passages ). I have read each series atleast twice and have really enjoyed Mordant, was somewhat turned off by GAp but later in the series was able to appreciate it. I eagerly gobbled up your new publications that you have written as they came out over the last 25 years. I can't tell you how many times I checked for your name on the "forthcoming books" list. I was a bit surprised with some of the stats you threw up on sales figures for the different series. While not a real surprise that TC sold well, I was amazed that Mordant sold only 20% of that! And GAP only 15% of Mordant!!! I don't know how you don't get angry with numbers like that. And it sure angers me that Publishers now think you are a has-been. I am interested in why you think that the sales figures fluctuated to that degree. I truly enjoyed Mordant as a series, in particular Castellen, Eremis, Artegal. I have found with most of your works, that I truly get a kick more out of the side characters than the main ones. Even in TC, I find Covenant and Linden to be less appealing than Mhoram (my personal favorite), Bannor, The Ravers, & Nom. Theresa and Geraden really didn't do it for me. I never could really buy into Theresa's inability to act and especially her ineffectiveness and existence in the real world. Geraden always seemed to be a bit one dimensional, especially in the first book where he is the lovealbe yet incompetent dufus who always is does something wrong. But yet, I really loved the plot, the intrigue,King Joyce, Havelock, and Gart. Great stuff. I have nine kids and the first two have read this series and also have gotten a kick out of it. Though I am waiting for them to be in the age 16-18 range before reading TC and probably older before they can choose to pick up GAP. GAP was problematic for me. I found "The Real Story" to be absolutely revolting. The violence was so personal and absolute and that the triangle of change that occurred between the 3 main characters was lost upon me and got to the point that I really didn't care much about any of them. Morn, a character that I should have sympathized with, became unbelievable and I never bought into zone inplant. (I find it paradoxical that I can buy into alertnate worlds, gap drives, etc.. but can't believe the motivations that drive the characters). That violence continued into book two and even though I could see a decent plot developing the whole rape, control situation was still way to much for me to even say that I enjoyed reading the first two books. As books 3-5 continued in the series, I did appreciate the intracies and loved Hashi, Holt, Ward, Holt's Mother, Min, Dolph. But honestly, accept for that the GAP series was written by you, I never woould have even picked up "A Dark & Hungry God Arises". Thanks for allowing me to go on a bit. Best of luck in future endeavors. You writing has been great entertainment, given me pause to think about what I think is important, and thereby shaped me. I truly appreciate your efforts and will remain a loyal fan. Thanks for your loyalty! I've been exceptionally fortunate in my readers. A few comments about the drop-off in sales from "Covenant" to "Mordant's Need" to the GAP books. I suspect that "Mordant's Need" suffered in comparison to "Covenant" because: a) the world is significantly less "magical" than the Land, and readers missed that sense of tangible transcendence; and b) "Mordant's Need" is more gentle--i.e. it has less of the "edge" which enhances suspense by making the reader worry about what might happen next. As for the GAP books, they: a) have too much "edge" for most readers to tolerate; and b) aren't magical at all. (There's a reason why science fiction in general doesn't sell as well as fantasy. I think it may have to do with the systemic anti-intellectualism of our society. Almost by definition, science fiction tends to emphasize mind over emotion, while fantasy tends to do the opposite. On a deeply visceral level, I suspect that most of us would rather "believe in" elves--and Creators--rather than black holes.) (06/10/2004) Allen Parmenter:  Mr. Donaldson, thankyou for answering my pestering little question about your " religious or anti-religious proclivities". I am a Roman Catholic and a close friend of mine who is also a Christian find great spiritual nourishment in your work even though we guessed you are not - ah - how should I put this? - a subscriber to "official Christianity." Now, on to the questions. Towards the end of the Gap Warden says to Angus "Don't just kill him Angus, tear his heart out." in reference to Holt Fasner. Considering the disastrous culimination of Nick Succorso's useless life - was Warden's request tragic? I am fond of calling the Gap "Star Wars Goes to Hell". Nick Succorso's grin always reminds me of that inveterate sexual harrasser Han Solo's. Was this deliberate on your part or would you just be pleased or horrified to think that a reader noticed the co-incidence? One last question - will there be wookies in the sequel? (nasty grin) Thank you for your consideration. In my view, Warden Dios' desire to "punish" Holt Fasner is certainly part of what makes him a tragic figure. But I don't see Nick as tragic. His wasted life is entirely his own doing, and he cares about nothing except himself. Warden, you might say, cares about everything except himself, and his life is not in any sense wasted. I like the idea of "Star Wars Goes to Hell." And I enjoyed the movies. But I didn't take them seriously enough to be influenced by them. Han Solo is certainly not the only character in film--or in literature--or in life--to use that "shit-eating" grin as a form of sexual predation. Indeed, one of my personal complaints about "Star Wars" is that (visuals aside) it is *entirely* derivative. There is (just an opinion, folks) less to Lucas' work than meets the eye. As for "wookies in the sequel": gosh, is that a *dare*? (06/10/2004) Brad:  Do you own the King of Thesaurases? I ask only because it has become something of a running joke at the Watch. I began reading the Chronicles at the age of 12. (My father had read them in the navy, and had carelessly left them out for me to find) I spent the next year poring over dictionaries for the words I could not comprehend (there were many), yet there were several I never found the meaning of. Is your vocabulary so extensive that this comes easily to you, or do you find yourself forced to reference you thesaurus on a regular basis. As an writer, I know I often do.... I've discussed the fact that I don't use (or even own) a thesaurus earlier in this interview. But if you can't find an unfamiliar word anywhere else, you might try the Oxford English Dictionary (a truly monumental achievement, and a boon to language-lovers everywhere). (06/10/2004) horribleboy:  First of all, let me just say thanks for everything. Can't begin to describe....ALL the books have meant something important to me. Question: From a lot of what I've read on these pages, it seems that being an author must be extremely frustrating at times. The message that comes across is that all of your work must be altered or transmuted in some way before it ever reaches the reader - the words, the length, the title, the jacket cover - and so on. Which of your stories has reached us in the closest possible form to that in which you originally intended? Well, I get frustrated: everyone does. And "Runes" has certainly been the most difficult book I've ever tried to write. (Unfortunately, the next installment will be much *more* difficult.) But I've conveyed the wrong impression if I've led you to believe that my stories *as published* somehow misrepresent my intentions, original or otherwise. (Remember, I'm just writing stories. Things like cover art and jacket copy are "not my problem"--even though I naturally have opinions about them.) I BELIEVE IN rewriting. And I know from long and painful experience that I need the services of good editors. I'll just mention two reasons. 1) Like (I believe) any creative artist, I have an intractable tendency when I write to *leave out* the things that are obvious to me; but of course those things are usually *not* obvious to the reader. Well, it's the editor's thankless job to stand up for the reader; to make me aware of what are, in effect, faulty assumptions on my part. 2) Contrary to what you might think--since my books are so long--I'm a very slow writer. Something that you read in an hour may well have taken me a month to write. As a result, because I'm moving so slowly, I have an intr--no, this time let's call it irrefragable--tendency to *emphasize* things which are necessary to me as I write, but which became obvious to the reader pages or chapters (weeks or months) ago. And again it is the editor's thankless job to let me know that I'm going on and on about something I've already beaten half to death. (Plus I haven't even mentioned my proclivity for making mistakes, or my natural human impulse to do things the easy way when the hard way would be much more effective. And let's not even *hint* at the damage insomnia does to my powers of concentration.) For such reasons, among others, the whole concept of "what I originally intended" has very little meaning. Because I'm so fallible, nothing that I write ever achieves "what I originally intended." But that's my doing: it's not the fault of any editor or publisher (with the very rare exception of Lester del Rey's infrequent interference). And I'm certainly stubborn enough to stand by what I've written when I believe it's preferrable to the alternatives. So: out of frustration, I sometimes complain about my editors. But at the end of the day, everything that I've ever published is MINE. If it is less than perfect, I have no one to blame but myself. (06/10/2004) Tracie (Furls Fire):  Hello again Mr. Donaldson. This is abosulutely wonderful, I am learning so much about you and your writing views reading this interview. This is the first page I come too when I turn on my computer and log onto the net. I love being able to communicate with one of my favorite authors in this way. You've answered so many of my questions when you answer others. It's given me such an insight into the Chronicles, one that I didn't have before, even though I have read them over and over again more times than can be counted. I know everyone, including me, has thanked you repeatedly for doing this, but I want to do it again. Thank you!! (More mush, I'm sorry). One of the things I love most about The Land is the music/poetry. "Lord Kevin's Lament", "The Legend of Berek Halfhand", "Andelain Forgive!", "To Say Farewell", and the way music seems to enshroud the Land all give the Chronicles such emotional depth for me, my heart lurches everytime I come to a song in the books. My question is-- and I know you've already answered musical questions so forgive me if I am being redundant-- but, I wondered if you had a running "score", as it were, going through your mind when you wrote the "songs"? Take "Andelain Forgive!" for example (my favorite), I "hear" a symphony behind the words rising in ear-splitting cresendo when Caer-Caveral sings the words.."Oh Andelain forgive! For I am doomed to fail this war..". And when Pitchwife sings the words "for even dust to me is dear, for dust and ashes still recall my love was here.." I hear maybe a soft cello or a single voilin accompany him, or perhaps even that flute he was playing as he sat on the wall at Revelstone. I guess what I'm asking is, did you "hear" the music as you wrote the songs? Or did you just put them to paper in hopes your readers would do what I did--hear it in their own inner ears and souls? No, I "just put them to paper in hopes [my] readers would do what [you] did." The only music I hear when I write songs, or verses, or poetry, is the music of the language itself. For me, that's music enough. Maybe I've just heard too many bad composers butcher powerful lyrics--and too many good composers make abysmal lyrics sound powerful. Or maybe I have no detectable musical talent. <rueful smile> (06/10/2004) Brian H. Galloway:  Mr. Donaldson, Although it was the Covenant books that introduced me to your work 14 years ago, it was Mordant's Need and The Gap series that placed you in my list of favorite authors regardless of genre (along with Orson Scott Card and George RR Martin). I've read The Gap series twice and Mordant's Need five times. I also intend to read the mysteries, but *hate* to read a series out of order so I'm waiting for TOR to finish publishing them all so I can read them back-to-back-to-back. I do look forward to the Final Chronicles, but I look more forward to what you will do afterwards (and I don't mean retiring). Thank you. Brian After "The Last Chronicles"? Oh, you mean the part where I NEVER DIE? Believe me, that *will* be something to look forward to. <grin> (06/10/2004) Jerry Erbe (DirectorDios):  Dear Mr. Donaldson, There have been several disparaging remarks regarding the GAP series in this thread. I must admit to being befuddled as I found them stunning and impossible to quit reading. As much as I love the Chronicles, I personally would have loved to have learned more about Morn and the whole Gap-gang! Which of the GAP characters was the most fun to write and which of them do you wish you could have developed more? Additionally, if you HAD to equate yourself to one of the characters in the series, which one would it be? Oh, unquestionably Hashi was the most fun to write. And I wish I could have developed Davies better: as I said earlier, I disappointed myself more with him than with any other character in the GAP books. Even if you held a gun to my head, however, I couldn't equate myself with anyone in those books. But when I grow up I *do* want to be Min Donner. <grin> She has integrity on a scale I can only dream about. (06/10/2004) Jonathan Meakin:  Mr Donaldson, I only recently discovered this site and was so very pleasantly surprised to learn of the forthcoming Last Chronicles. I am also impressed that you are taking on the task of responding to questions, a remarkable demonstration of generosity on your part. I have long been an admirer of your work. My copies of the Chronicles (UK Fontana editions, I think they are) are well-read and falling apart, so perhaps I’ll invest in the new editions as they look very, ahem, “precious.” I have also greatly enjoyed your short fiction (“Reave the Just” strikes me as particularly brilliant) and The Gap series is, in my view, an astounding accomplishment. I must say, though, that "Mordant's Need" doesn’t quite come together for me. (Sorry.) The concept of Imagery was incredibly interesting, but the narrative’s ending seemed too neatly wrapped up and oddly inevitable. More significant, however, is the issue of power in “Mordant’s Need”. In other works you explore so well the *recognition* of personal failings as empowering individual agency, as a source of power. However, in seeing through to the end his contorted and convoluted plot, King Joyse doesn’t appear to recognize (in any real sense) what he risked or what he lost. In fact, and oddly enough given your knot of interests in this regard, Joyse appears vindicated for his machinations of power without clearly gaining new self-knowledge. The risk to Queen Madin and his daughters results in, at worst, Myste’s scar, and at best, a new political alliance. Whereas the loss of the Tor, the Perdon, and Castellan Lebbick (three wonderfully realized characters, by the way), a loss that would immobilize and paralyze Thomas Covenant, for instance, seems strangely distanced from Joyse. Similarly, Teresa doesn’t appear to acquire self-knowledge and, thus, agency, or perhaps her transformation is too subtle to be convincing? Eremis, of course, fails for his sheer arrogance and lust for power at the end, but, ultimately, Joyse’s and (perhaps) Teresa’s lack of self-knowledge echo Eremis’ and (dare I say it) Lord Foul’s, although configured differently and without the same consequences. (Also, the Perdon and Lebbick arguably gain self-knowledge, but die for that knowledge in this tale.) I was wondering, Mr. Donaldson, whether you would like to comment on the power in “Mordant’s Need”? Do you see a distinction in the configuration and ramifications of power and individual agency in the two volume tale compared to the Chronicles and the Gap series? I'm sure you don't expect me to comment on your critique of "Mordant's Need." Every reader has the right--even the responsibility--to have his/her own opinion about specific books. Just as I have mine. But about "power" in "Mordant's Need": here's one way to look at it. Imagery and the use of mirrors occupy a sort of middle ground between the manifestations of power in more traditional fantasy ("magic and monsters") and those in science fiction (typically "weaponry"). The kingdom of Mordant is not *in itself* a magical place. In fact, it is a rather "mundane" quasi-medieval reality. Instead it has access to magic through the manipulation of devices; through a kind of technology. (Hence the otherwise rather strange fact that Imagery can tap into worlds which operate according to very different "rules" than Mordant does.) In that sense, "Mordant's Need" may deserve to bear the lugubrious label "science fantasy." The use of "magic" there bears a certain resemblence to our use of "science". Of course, other writers have done this before. But in my experience, none of them have treated both the "magical" and the "mundane" aspects of their creation with equal respect, as I strove to do. (Having said that, however, I suddenly find myself thinking of China Mieville....) Incidentally, "Mordant's Need" also represents my first attempt to deal with the themes and implications of "politics"--in (no doubt unconscious) preparation for the GAP books. (06/11/2004) josiah jacob:  Thank you very much for answering my previous questions. It truely made my day when i first saw your written reply to my inquiries, and i'm sorry my second set of questions was so large. you answered 2 of my many questions from my previous post, so i figure that i'll post two more here, and when/if they are answered, i'll post 2 more next month. i hope that makes it easier for you, as apposed to my barrages of 10 or so questions at a time because i get so caught up in typing them :-p An interesting question about Covenent: is The Land real? I assume it is, I'm sure all the readers assume it is, but, unless I'm mistaken, it was never actually stated that it was real. Thomas may have just excepted it as a place in his own mind, were he was not an angry, old leper, but rather someone who was able to help, and wanted to help (here i'm speaking of the last book of the first Chronicles, were he fought off the summons to save a child, then gave in to letting them call him into the land). Granted, the very begining of the second chronicles kinda dashes that to hell, but i thought i'd like to ask you about that anyways. Also, will Thomas' ex-wife, or (i hope) son have any role in the upcoming books? And though I know their relationship was... taboo for lack of a better way to put it, I'd have liked to have seen Thomas and Elena stay togeather. Did a part of you regret writing her out, or do you wholey feel her death was nessasry, and her relationship with Thomas was simply a dead end? i'm sure you already know how your fans feel, but just incase you don't hear it from us enough, i'd like to thank you again for taking the time to talk with us, and answer our questions. Is the Land real? Of course not. I made it up. As I also made up the characters who have to wrestle with the question of the Land's "reality". It's all a parlor trick. Or, to put it more constructively, an exercise of imagination. OK, OK, I know that's a glib (not to mention dismissive) answer to a serious question. But I'm actually trying to get at what I consider a very serious point: what is "reality"? Is something "real" because we can verify its existence in some tangible way? (I know this desk is "real" because I can touch it. I know my illness is "real" because I can feel its effects. I know my friends are "real" because I experience them in various ways.) Or is something "real" because we choose to assign importance or value to it? (You may believe that you have a "soul." I may believe that I do not. But surely the fact--and it is a fact--that I cannot verify the existence of your "soul" has no bearing on the importance of your "soul" to you. Is not your "soul" therefore "real" as far as you are concerned?) Gene Wolfe says that he knows "angels" are "real" while "corporations" are not because he's *seen* "angels" but he's never laid eyes on a "corporation." I personally don't consider "real estate" to be "real": oh, I know that the physical ground exists, but the whole notion that a person could "own" a piece of the planet seems so absurd to me that I simply can't give it any credence. Do you see my point? The Land has no tangible, verifiable "reality," not even to Covenant and Linden. Yet they--and I--and many of my readers--assign importance/value to the Land. Isn't it therefore "real" precisely because we make it so? And isn't that really the position at which Covenant himself arrives at the end of "The Power that Preserves"? As for Covenant's ex-wife and son, if you've read the chapter of "Runes" I've posted on this site, you already know the answer. But your question about Elena and Covenant as a couple is actually your *third*, so it will have to wait until the next time around. <grin> (06/11/2004) Clayton:  Mr. Donaldson, you have my unending gratitude for so relentlessly pursuing this Gradual Interview. I know of no other author connecting in this way to their readers. (then again, isn't this taking time away from "Runes"? get back to work! <grin>) My question is: When writing about the Land for the first time, did you sit back and first sketch out a map or are you able to think spatially as you write in such a way that a map is redundant and only created as an afterthought for the reader? From this interview I know you don't write copious notes of 'backstory' ala Tolkien, but I'm curious if the geography was planned or sort of happened. Thanks!! No, I had to plan the geography and draw the map as part of my preparation to write the story. I can't think spatially at all. Questions like, say, how long would it take Troy's army to march from Revelwood to Doom's Retreat? would have been impossible for me to answer without a map. Just *think* of the narrative logistics involved in having the opposing armies reach Doom's Retreat almost simultaneously, and then having Covenant arrive at Gallows Howe while Mhoram et al are there. (06/11/2004) Peter Purcell:  I had to smile when I saw your last response to a "Creator" question having sumbitted some of my own. I promise this isn't an additional one! But I think your wrong on the "problem". It isn't a blurring of reality and fiction. I think there is a general human need for structure and order as it relates to existence. I think that is at the root of the popularity of religion in general - a quest for the meaning of it all - where did we come from and why. While there are a few of us who rebel at the notion of there being any ONE right answer, I believe we are in the minority. In fiction you "pull" us into the fictional universe (or multiverse - take your pick!) you've created. Writers who do that VERY well (as you do) have us emotionally caring about your "fictional" creation (in your case the "fictional" Land and "fictional" real world.) The liability (if you'd call it that) is that we also care about the "fictional" cosmological structure - we want to feel that it's complete and consistent. I'd suggest that authors who have sold "background" cosmologies for their series as separate books are appealling to this desire (ala Tolkien Silmarillion.) Just a thought!! I think I understand your point. But (if I do) you're talking about "internal consistency." I've already discussed that at some length. And I believe that the Creator's role in the "Covenant" books has demonstrable "internal consistency." However, most of the "Creator" questions on this site are actually "reality" questions (discussed above). Hence my unwillingness to continue answering them. (06/11/2004) David Wiles:  Steve;After reading the last question in your QnA section I agree, it is expensive touring. So please be welcome and true in our home. A good hardy home cooked meal,( my wife cooks organic if necessary) is just the thing a road warrior needs. We are not wacko's, just people who are grateful for the gift of your stories. Two of my children are blackbelts in Karate and were trained at the American Academy of Martial Arts and my youngest is a brown belt. They are 18, 16, and 11 years old. We are located in central California right between San Fransisco and Los Angeles in Fresno. So as you see, it would be on your way and a perfect waymeet for any weary traveler. Thanks again for the countless hours of joy, anguish, pain and love through your words. Before you write this request off please remember that the receiving of a gift honors the giver. Yours very truely, David Wiles and Family I appreciate your very kind offer. Frankly, however, I can't imagine taking you up on it. For all practical purposes, you are a total stranger to me. And dealing with total strangers is a huge part of what makes touring so arduous. Only the company of old friends and family actually comforts me when I'm on the road. Failing that, I need privacy, isolation, even sensory deprivation. I hope you understand. (06/11/2004) hosabian:  Hi monsieur Donaldson I cant tell you how gratefull I am to be able to communicate with one of my favourate authors this way. Most of the questions I am curiuos about have been asked so at the risk of getting the same answers(understanbly) i'll ask you different questions. Firstly I want to tell you how moved i was when covenant resigns himself to find his own caamora in the banefire, because he does so with such dignity, very moving. My question is simple, In 'mordants need' why the game draughts instaed of chess?. Also (i know its cheecky to ask you about other authors) grin!!, but what do you think of david eddings and his series the 'Belgariad'? (I thought I'd avoid asking about tolkien lol).Also Ive heard you talk about camus, and satre before I wanted to ask you if you've read 'nausea' by satre and if so did you like it? thanx for your time big D, I wish you luck with the new series!! x x Briefly-- I chose "hop-board" instead of chess for "Mordant's Need" for reasons explained by Edgar Allen Poe: he argued that to win at chess requires mere concentration, while to win at "draughts" (checkers) requires imagination. A bit over-simple, perhaps, but it suited my purposes at the time. Sorry, I can't comment on David Eddings. Like Robert Jordan (and George R. R. Martin, for those of you who were wondering), he lies outside my ken. Sartre's brand of existentialism isn't to my taste. After all, wasn't it Sartre who asserted that "Man is a futile passion"? A man who writes the kind of fiction I do can hardly be expected to accept that statement. (If you want to know more about my views on the subject, you might look at my essay "Epic Fantasy and the Modern World" posted on this site. And before long my webmaster will post an essay by Benjamin Laskar which treats extensively with "Camus, Sartre, and Donaldson.") (06/11/2004) Elisabet Liljeblad:  Hello! It's a great pleasure to read your fantastic novells. When will The Last Chronicles of Thomas Covenant be released in Sweden? Actually, as my heart has a great desire of a figurative making of Covenant, I rather wouldn't want to see an adaption for the screen of the trilogies in the bottom of my heart. I just can't imagine how you will succeed in for example transforming Linden's thoughts and feelings into pictures. I wasn't fully dissatisfied with Peter Jacksons adaption to the screen of The Lord of the Rings by Tolkien, but with your work it is different. Nothing can compare to your books, they are just to important to be destroyed by us, the commercial word. Anyhow, I will watch the film, if there will be a film, even if my heart will break :). Guess I'm too young to be ready for that. I very much look forward to the release of The Runes of the Earth. Thank you! Privately, I believe that if anyone ever makes a "Covenant" movie it will almost certainly be *bad.* The deep internal dimensions of LOTR are precisely what was missing from Jackson's films, and those dimensions are even more central to "Covenant" than they are to Tolkien. Books can take you inside the characters: movies cannot (except by dialogue, imagery, and inference--and, like LOTR, "Covenant" has *way* too much action to leave room for all the talk, the *explanation,* that would be necessary). I'm sorry, I have no idea when--or if--"The Runes of the Earth" will appear in Sweden. Publishers from other countries usually wait until they see how a book sells in the US and the UK before making a decision. (06/11/2004) Mike G:  Thanks for taking the time to answer questions- it is a great thing to get your insight into these stories... My question- and I apologize if it has been asked before- You seem to be very big on anti-heroes. Covenant, certainly is not likeable on the surface, though he has many admirable qualities. And *no one* in the Gap Series has many socially redeeming qualities by the end <grin>. How do you go about writing such dark characters? It can't be easy to get inside these characters for long? One of the testaments to your great skill is that you can make such likeable stories about such unlikeable people- I was constantly angry wtih myself reading "Gap" because I started to care about the characters... There are at least a couple of keys to my approach. One is that I don't think of them as "anti-heroes." Yes, I know they're "dark," and yes, it is often unpleasant (!) to spend so much time with them. But I think of them as important people who *need* to have these stories happen to them. I am, in a manner of speaking, helping them find redemption (or personal integrity, or love, or the ability to care about something other than themselves, or whatever you choose to call it). After all, I'm a natural born "do-gooder" <grin>. Another key is that I know where these unpleasant people are *going*. Remember, I can't write at all unless I know where the story is going, and why. From the start, I can see the resolutions toward which my characters are (unconsciously) striving. That helps me cope with an awful lot of what they do along the way. There's an interesting point of "literary criticism" here which I have neither the time nor the inclination to pursue in any depth. But briefly: a literary critic named, I believe, Kazin has argued that the defining characteristic of US writers (as opposed to writers of other nationalities) is that they feel compelled to create what they are not; to fill in perceived (conscious or otherwise) absences within themselves. Hence Hemingway, who lived a dramatic, even romantic, life wrote spare, unemotional prose which underplayed any drama or romance contained in his stories. And Hawthorne, who lived an exceedingly spare and mundane life, wrote exotic, dramatic, and supernatural fiction. It would not be difficult to find ways in which Kazin's argument applies to me. (06/14/2004) Elisabet Liljeblad:  How come Thomas Covenant never is called Thomas, and how come Linden Avery always being called the opposite, Linden? It's sexist, I know. But I was programmed that way many decades ago, and breaking free has been, well, difficult. Of course, in my own defense, Covenant hates his first name; so he encourages people to call him Covenant. But that's really just a rationalization. *I* call him Covenant to emphasize the issues which lie beneath his Unbelief. But my Mommy would wash my mouth out with soap if I called "Linden Avery" Avery. <grin> The GAP books, I'm glad to say, don't have the same problem. Nor for that matter does "Mordant's Need." But after six books poor Covenant and Linden are kind of stuck the way they are. (06/14/2004) Fist:  A no-prize?? How cool!! What was it for? Gosh, if I remembered, I'd tell you. (06/15/2004) Russell:   I must say thanks again for this great service you're doing for your fans. Opportunities like this to correspond on a fairly long term basis are pretty unheard of, as it must be a bit time consuming. On to my question. Have you considered scheduling an appearance at the San Diego Comic-Con? A great promotional opportunity at the best convention of it's kind in the country( if not the world), July 17-21. Much thanks for all the work through the years. I have attended similar conventions in the past, and enjoyed them. And I have friends in the San Diego area. But the timing this year is completely impossible. And in future years--well, who knows? My publishers only send me on the road when I have a new book coming out. (06/15/2004) Jim H:  I just finished reading the Gap series for the third time. Any chance of a second cycle? Also, I found the prospect of a species such as the Amnion mortifying. Someone in Hollywood should turn the Gap series into a movie. I think a thriller based on the Gap series, highlighting the Amnion, would rank right up there with Alien. Who would you like to see play Morn, Angus and Nick? I've discussed the (im)possibility of future GAP books earlier in this interview. The debate about casting the leads continues. I haven't yet heard a good suggestion for Morn. Cate Blanchette? (sp?) How about Colin Farrell for Nick? (06/15/2004) Michael from Santa Fe:  Please tell me that we will get to hear Covenant cry, "Hellfire and bloody damnation!" again? Thank you Mr. Donaldson for all your wonderful books. I've read and loved them all! Sorry, I can't make any promises. But it will be difficult to pass up. <grin> (06/15/2004) Danijel Sah:  Dear mr. Donaldson! I'am a young SF-author from Croatia, Europe. Two months ago I published my first book "The Black Wall" which was accepted excellent among the readers in my country. I read both trilogies about Covenant for several times. There are no words of mine to discribe their excellence and what they mean to me and how they effected my life. My question is this: Because You are mine favourite author, I'am asking You: Can I send You one chapter of my book, so You can read it and maybe say something about it? I would be gratefull if You could accept it! I know You are a busy man, and maybe I'am asking to much of You. I'am sorry if that's true. PS: I'am am also sorry if my English is not so great! Truly Yours, Danijel I'm sorry to keep turning people down; but please don't send me anything. I'm a very slow reader. And I have no time. For those reasons, I quit writing blurbs or comments of any kind several years ago. And I'm the wrong person for the job. I'm nothing if not judgmental about writing, other people's as well as my own. If a writer isn't good enough to sweep away my judgments--and few are--I'm a *very* harsh critic. That's why I so seldom express opinions about other writers in this interview. (06/16/2004) Chris Hawks:  I've noticed that each of your series (1st Chronicles, 2nd Chronicles, Mordant's Need, and the GAP) gets progressively better than the last. As such, I have high hopes for the Last Chronicles. :) I just finished reading Mordant's Need for the second time, and I have a couple of questions/comments: 1) What are the "seven Cares of Mordant"? There's Armigite, Domne, Fayle, Perdon, Termigan, and Tor. But that's only 6. If pushed, I'd be forced to guess that the 7th is Joyse's province, the Demesne, though it was never specifically mentioned (and, in fact, it seems care was taken to *not* mention it) as one of the Cares. 2) How does Geraden's talent work, anyway? At first, he could change where a mirror went without changing the Image; but then, at the very end when he translates everyone back to the battle at Esmerel, he does change the Image. Is this merely the final maturation of his abilities? 3) Upon first completing the GAP series, I was struck by the similarities between King Joyse and Warden Dios. Each put not only his own reputation on the line, but also the lives and hearts of both those under his protection and who serve him, in order to thwart a greater evil. Was this similiarity intentional? Regardless, it makes for wonderful suspense, with the added result that Warden and Joyse are my favorite characters from their respective series. 4) Not a question, but I read your previous answer regarding the map for Mordant, and I have to admit that I've long wondered about its existence myself. Though part of me thought that perhaps you were toying playfully with the readers, by including numerous (!) references to maps within the story, while not providing them with one. :) Well, I hope I can justify your high expectations. There's nothing like pressure.... <grin> Your questions. 1) Yes, King Joyse's domain--Orison and its immediate environs--is the "missing" Care. Except to the extent that the whole of Mordant is Joyse's Care. 2) And yes, the changes in what Geraden is able to accomplish indicate the maturation of his talent. 3) And yes yet again, I was very aware of the qualities and methods which Joyse and Warden Dios have in common. Although I wasn't conscious of it at the time, Joyse is--in a manner of speaking--a "trial run" for Warden. Much of the content of "Mordant's Need" was my first attempt at techniques, subjects, and themes which I explored much more deeply in the GAP books. Indeed, I could hardly have written the GAP books as I did if I hadn't first written "Mordant's Need." (06/16/2004) Kevin Green:  Like many I'm on a return trip to The Land preparing for Runes later this year and enjoying your work all over again. A few things struck me on this journey and I appreciate the opportunity to ask you directly:- - You mentioned in an earlier question that you disliked writing the What Has Gone Before sections and TBH I felt that they were somehwat superfluous as having just re-read The Illearth War I found that the first couple of chapters rehash some of the previous events in Lord Fouls Bane as if there is no WHGB. Is this duplication intentional? - For the first time I read Gilden-Fire during The Illearth War & was struck by how much of Illearth is actually not from Covenants' viewpoint or even within his prescence. Strikes me that the reason for the exclusion of Gilden-Fire doesn't honestly hold water. Your thoughts? About WHGB, here's a key fact you may not know: I never wrote them. Not for "The Illearth War," not for any of Covenants 2-6. I refused because I truly do hate doing such writing. So Lester del Rey wrote WHGB for 2-4, and then my next editor, Risa Kessler, wrote 5-6. Sadly, I *have* written the WHGB for Covenant 7, and will probably be forced to continue for the rest of "The Last Chronicles." When you see the WHGB in "Runes," the differences between how I do these things and how Lester and Risa did them will be immediately obvious. Superficially, you're right about point of view in "The Illearth War." But remember that virtually all of the non-Covenant POV is Hile Troy, who seems to have reached the Land from Covenant's "real world," so his viewpoint doesn't violate the principle which excluded "Gilden-Fire." As for the (as I recall) one other instance of non-Covenant viewpoint: I used Mhoram's POV in a (I hoped) subtle attempt to prepare for the significant viewpoint changes which would occur in "The Power that Preserves." (06/19/2004) Ash Quadir:  Mr. Donaldson, Thank you for making yourself so accessible. It’s a true honor. Many, many thanks for being such a thoughtful and EXTREMLEY talented writer! One of the things that make your novels so compelling is that your characters are so REAL in your books. Most great books have this trait. Do you set out to develop well-round characters first or are you more driven by the plot? Are the titles for the Last Chronicles “firm”? Pardon me for being blunt, but the titles of the four new books are not as compelling as the ones for the prior books. Do your family/kids read your books? What do they think? Do you discuss ideas with anybody besides your editor/publisher? Is writing your full time job because you made enough money off your books to do so? If so, what year did you become a full time writer? I shudder to think it but what are the contingency plans if you pass away before all four books are completed… Do you have extensive notes so somebody else can finish the series? Are there contingency plans? Again it has been the GREATEST HONOR and JOY to read your works! PS: Stop being so hard on yourself – or so modest. You should be EXTRMELEY proud of what you’ve accomplished as a writer! PPS: Have your read George R.R. Martin’s A Song of Ice and Fire? If so, what do you think about them? - Ash Quadir Some of your questions have already been answered in this interview. I know it's a chore to read through everything that's already here; but I simply don't have time to answer the same questions repeatedly. So-- Yes, the titles of "The Last Chronicles" are firm--considering that none of us can foresee the future. I'm sorry you don't like them. I do. And I've had favorable responses from other people. Neither of my kids are extensive "Donaldson" readers. However, my son has finished the GAP books, and my daughter has read "Mordant's Need." But I don't discuss my ideas with ANYone--not even my editor(s). Occasionally I slip up and give my agent a hint (he's a dear friend). And sometimes, when I need a little brainstorming, I consult my personal reader. But that's it. I became a full-time writer in 1972, and began supporting myself and my family in 1977. That's my only job. Sorry, there are no contingency plans to finish "The Last Chronicles" if I expire. Hence my solemn (!) determination to never die (!!). (06/19/2004) Ben:  I'm really enjoying reading the questions/comments/responses in the Gradual Interview. Like so many others, I've been touched and thrilled by your work for a great many years. Dammit man, yer just one helluva writer (as if you need me to tell you). I could write an essay on how much discovery - and fun - I've had at your imagination's expense, but I digress. Other folks are doing a fine job with re-collected details and admiring insights, so no lengthy questions/comments here. But I must point out my love of your short story work - in particular, "The Killing Stroke," which IMO is a masterpiece of short fantasy fiction. After I read it - hell I practically wanted to teach it. Or film it. Cheers, Ben I'm so glad you liked "The Killing Stroke"! It's my current favorite of my shorter works. (06/19/2004) John McCann:  Thank you for answering my previous question. I have a feeling that after rereading both Chronicles and devoring Runes, I will have a need for some new (to me) Donaldson and will finally discover and apreciate the entire Gap cycle. As a fan of your work I was always disappointed by the Sweet covers for the TC books. I was excited when they were reissued with new covers but immediately dismissed then when I saw, the erroneous art credit. I was suprised and pleased to read such a blunt assessment of the covers from you. Something I had always wished for was Michael Whelan's interpretations of The Land. How did it come about that Mr Whelan was commisioned to do the cover for the American edition of at least this volume of the Final Chronicles? Did you request his services? Has he been contracted for all four volumes? Thanks you again for answering my questions. If your current pace is a slow down, I can't wait to see how you handle the questions when you are not distracted. I've long admired Michael Whelan's work myself. (But you should see the original paintings. They are even more impressive than the covers made from them.) And I've been casually acquainted with Michael for many years. Indeed, I requested him for "Daughter of Regals and Other Tales," as well as for "Mordant's Need." But my "glory days," when I had the clout to do things like request cover artists, are long past. No, commissioning Michael was my editor's idea. And I guess that she--or the art director at Putnams--worked long and hard to get him to agree. Like a lot of the people I've known for years, he's apparently looking for ways to cut down on his workload. And he's exceptionally conscientious--for example, he insists on reading the entire book--so he can't just knock out paintings whenever he needs one. Unfortunately, I don't know how many of "The Last Chronicles" he's agreed to work on. "Runes" may be a one-shot; or he may have contracted for all four books. In either case, we should have the cover for Putnams' edition posted on this site sometime in the next couple of weeks. (06/20/2004) Ingo Metzler:  Dear Mr. Donaldson. Do you know of the translations of your books in other languages? It was in the early 1980s when I read your books in the german translation. The german translations of the Covenant books are fantastic. The transator Mr. Pukallus chose a somewhat old-fashioned German language and he paid much attention on translating names and places. When I read today the english books I have to admit: He did a very good job. On the other hand, the same translator did a bad job on translating the Gap-series. He used the same stile of language as in the Covenant books and this simply does not fit (in my opinion). The english originals (by the time the Gap books were published, I was able to read them in English) were much better. So my Questions: * Do you take care of the translations of your books? * Do you influence the translators in any way? * Do you know of planned German versions of the third Chronicles? Best regards, Ingo Metzler No, I have no control over the translations of my books: publishers in other countries make their own decisions about which English-language books to buy; and they choose their own translators. Occasionally this is disastrous: just to give you one example, the first time "Lord Foul's Bane" was translated into French, "Saltheart Foamfollower" became "Briny the Pirate." At the opposite extreme, the appointed translators do sometimes contact me, asking for advice (many years ago a Swedish translator asked me if I wished him to preserve the "child-like" flavor of my prose, offering instead to inject a note of "dignity and grandeur"). Frankly, I know of no authors who aren't at the mercy of their translators. (Well, unless you're someone like Borges.) Which is why the author of "Lolita" (I've blanked out on his name--temporarily, I hope) did his own translations. Fortunately, I now know that negotiations are underway for a German translation of "The Last Chronicles." But translation is an arduous business, and I can't begin to guess when "Runes" will appear in Germany. (06/20/2004) Cornaquious:  Thank you for taking the time to answer your fan mail. I understand that some of our questions are a bit tiresome (present company included, as you will soon see). You have been a good sport. I'll ask a question first, then go on a brief rant. You may ignore the rant if you like, but it's been bothering me for years. For good measure, I'll include a praise! Question: When I was first exploring the wonders and benefits of the internet, I seem to remember coming across an interview you gave where you mentioned that in a Third, and consequently *Last* Chronicles, it might be fun (or words to that effect), to bring back Covenant as Lord Foul. Without giving away any spoilers, aka plot secrets, do you remember making this comment? Or, was it just wishful thinking on my part? Rant: I have been *extremely* disappointed with your publishers approach to re-releasing your books. The trade paperback versions of both The 1st Chronicles and Mordant's Need have typesetting and margins that would appear to fit a mass market paperback. By that I mean you could literally cut the wasted space around the typeset and have a MMPB. If they're going release a TPB, at least increase the font size and take advantage of the extra margin created by the larger physical size a TPB has to offer. The cover art for the recently released TPB version of Mordant's Need, and the soon to be re-released versions of the 1st and 2nd Chronicles are, how do I put this nicely? Ghastly. If I hadn't already read the books, I would have no clue as to what these books are about. At least on the web site, the ring on the covers look positively, *yellow*. Given the location you find the book in the bookstore, it could suggest that marriage is a fantasy or science fiction. I'm sorry. Your work deserves better. I should also throw in a praise: Hurray for Michael Whelan! I find his art spellbinding. It's probably not a coincidence that my favorite authors, (Stephen King, Tad Williams, as well as yourself) have had his art grace their covers. Bonus question: Any chance of presenting any of MW's work for your books on these pages? The dust jacket for MoHD, as is, is beautiful, but the original painting, which was cropped for the book cover gives added depth to Terisa's character. More people should have an opportunity to see this. Again, Thank you for taking time to answer our questions. It goes without saying, that your writings have sparked the imaginations of many readers throughout the world! Sincerely, CA I don't think there's any question that my publishers (principally Ballantine Books) have given my "back-list" support which is both weak and infrequent. And I'm as disappointed as you are by the various re-releases. The trade paperbacks of "Mordant's Need" elicit actual pain; and the misleading blandness of the forthcoming covers for the first "Covenant" trilogy and "Daughter of Regals" beggars description ("Hi, folks. Here's an extremely pale imitation of LOTR. Try it if you don't have anything better to do"). Naturally I shouldn't be saying any of this; but one good rant deserves another. <grin> As for "bring back Covenant as Lord Foul." Yes, I remember saying that. And yes, I meant it. But it doesn't mean what it sounds like it means (I'm often deliberately misleading when people ask me about such things), and I have no intention of explaining what I meant. My purposes will become clear in the fullness of time. Presenting Whelan's art on this site would be fun; but he holds all of his copyrights (firmly, I might add), and he has his own methods for making his work known. He probably even has a web site that does more justice to his art than I could. So don't expect to see any Whelan "originals" reproduced here. (06/20/2004) Chris Sizemore:  Dear Mr. Donaldson, As noted here by so many other fans, your works have moved me, delighted me, entertained me, and been the focus of many hours of thoughtful musing and pondering. Thank you. Now on to my question... In the Second Chronicles, you build the tension to an incredible peak, realized with the one word utterance of Covenant, "Nom". How did it feel when you wrote that scene? Did you realize the power it would have on the reader? I have to say that at that moment I had to put the book down, I was so charged, and wait until my excited nervous energy dissipated before I could go back and continue. Well done! Thanks! I'm glad that scene worked the way I wanted it to. I, of course, knew what was going to happen years before I actually wrote it. As soon as I wrote that scene, I started on the next one. And writing often elicits very different emotions than reading. So the way I felt when I wrote it was nothing like the way you felt when you read it. I was, however, proud of myself. Satisfied that I had come so far. And deeply worried about the work still ahead of me. (06/20/2004) Jason :  First off, I can't wait to get my hands on the first of the "Last Chronicles"! I just came to the site because I was re-reading the first Chronicles and wanted to see what new stuff you had out. I wanted to comment on the news section mentioning Russell Crowe and a "Covenant" film. I had a thought as I was re-reading and wondered what you thought of it, since I was inspired to see that the movie was actually somewhat of a thought of yours. I think that the guy from the Hulk movie, Eric Bana, would be a good fit for Covenant. What do you think? Eric BANA? As COVENANT? I'm sorry, but I can't see it. He's too young, and *way* too fit. And I've never actually seen him *act*. All I've ever seen him do is pronounce his lines and move around the set. (06/21/2004) Allen:  Vector Shaheed does not have a "point of view"chapter written about him. Was this diliberate? Vector Shaheed also has blue eyes, as well other characters, King Joyce, the spectacular Reave the Just, and the Creator in the Thomas Covenant works. Is my noting of that purely co-incedental or is there something more important going on? I understand that "joy is in the earest that hear" but I must confess I have a hard time believing, at the least, that you did not subconcionable was up to some kind of trick. your handling of that transcendent power Dolphe Ubikwe is horribly exciting. There is a scene in "This Day All Gods Die" when the divine Dolpe gazes out upon the solar system and he beholds that universe and " he saw a treachorness and he approved." He has passsed through horrors into a place of a terrible whimsy and peace. He also carries on a sickly banter with Vector Shaheed. My question. I have no right to pry into your private life but I am wondering if you are friends with veterans of the Vietname war, or have you any any friends who are police officers. Your portayal of Dolphe shows a huge load of psycholical acuity. Vector Shaheed does not have a point of view chapter because he doesn't need one. Certainly he's an interesting character, and he does important things. But you'll notice that whenever he's doing something important, someone else is doing something even *more* important. As a general rule, POV in the GAP books follows whoever is the most central character in the story AT THAT MOMENT. All those blue eyes are certainly coincidental. I'm not so much color-blind as color-stupid. I often forget to give my characters any eye color at all. As it happens, I'm friends with both Vietnam vets and cops (SWAT and Bomb Squad mostly). One of my friends was a Vietnam vet *and* a cop *and* a psychologist. I've learned a lot from them all. (06/21/2004) dlbpharmd:  There is currently a big debate on kevinswatch.com about the sale of the ARC for Runes on ebay. Would you mind sharing your thoughts and opinions about this? I think it's "stealing," and I don't condone it. But we live in a society ruled by greed, and I know of no effective way to change "'our' core values." I'm told by those who know more than I do (agents and editors) that the vast majority of ARCs get sold to SOMEbody. Most of the sellers are just more discreet than our friend on eBay. (06/23/2004) gmv:  In case you haven't remembered yet Lolita was written by Vladimir Nabokov!! Thanks! My memory can use all the help it can get. (06/23/2004) josiah jacob:  i hope you'll excuse a thrid question from me this month, but this one just popped in my head, and i wanted to get it out before i lose it :) in the gap series... had you intentionally written Angus to be the most HUMAN charater, or am i simply seeing him thusly? by the 'most human' i mean... well, forgive me, i do NOT mean to critic your characters,you seem to almost go out of your way to make sure every character, not matter how small a role, has a name, for example, to make him more real. what i mean by "more huma" though, is... dammit, i'm sorry, i can't put it into words. morn, thomas, warden, the masters... all of your characters are plausible, all have their own personalities, their weaknesses and strengths... but as much as i hated Angus (for the first 2 books, then he became one of my favorite characters), despite how much i detested him, i still noticed a subtle difference. was it intentional? I hope you know what i mean... One last small question: as i'm sure you've noticed in my questions past, i tend to... babble, endlessly. i do it because i feel the need to be as clear and precise as possible, and i've (in the past, on ther sites) written several paragraphs to even a page or so, just to ask, or answer simple questions, even when a simple sentance would have sufficed. to be honest, this drives me (and people who read me) up a wall. as a writter, do you have any advice for me as to how to lose this annoying habbit, or how to write just as clearly, in shorter, easier amounts? sorry, i know this has nothing to do with your books, but your a professional writer, so i figure it couldn't hurt to bring this question to you. a good example of what i mean: i called that question (above) a SHORT question :-p Please don't worry about "babbling". We all need to express ourselves in our own ways. Indeed, we all DO express ourselves in our own ways, whether we want to or not. <rueful grin> Is Angus "deliberately" the most "human" character in the GAP books? That's a hard question to answer because I don't think in those terms. There was never a time when I stood back from the story and mused to myself (in Olympian tones), "This will never work unless Angus is the most well-rounded, complex, detailed, deep, convincing character in the whole saga." What I actually said to myself was more along these lines: "Oh, **u*! This will never work unless I can find some way to open my heart to the most overtly despicable character I've ever imagined. 'When you look into the abyss, the abyss looks into you,' and the abyss is going to be doing some LOOKING." Believe me, opening my heart to characters like Morn Hyland and Nick Succorso--or to smaller players like Godsen Frik and Cleatus Fane--was a *e** of a lot easier. Incidentally, what I've just described explains a couple of odd points about "The Real Story." 1) The novella's idiosyncratic structure, what I call the "onion-peeling" approach to story-telling. Surely most of my readers have noticed that I've never done this before or since. Well, for my own sake as well as for the reader's, I needed to approach the truth about Angus gradually, in "layers." If I had simply slapped people in the face with Angus, none of us would have been able to stand it. 2) After I first wrote "The Real Story," I put it away in a drawer for--as I recall--two and a half years. Which I've also never done before or since. It (by which I mean Angus) asked too much of me, and I didn't feel brave enough to go on. For reasons, and by means, too complicated and personal to explain here, I needed to become a stronger person before I continued the story. (06/23/2004) Anonymous:  A question from an alternate reality.... If you hadn't managed to get a deal for the Last Chronicles, would you still have written the books anyway, or sketched them out just as a means of getting them 'out' of your head? Or could you simply put the stories to one side and move on to the next idea? Also, a question of the 'you can save only one relative from a burning house, which one would it be' type........if someone with a terminal illness approached you and asked to know what happens in the rest of the Last Chronicles, would you tell them and if so, with what provisos? That is just a hypothetical question, but a taxing one perhaps?! Gee, I hope you didn't have a lot invested in "taxing" me. These are easy questions. Writing is tough for me. I don't write at all unless I believe in the story enough to do the work regardless of its prospects for publication. After all, I wrote the entire first "Chronicles" with no prospect of publication. I can do that again. It would be financially difficult because I have a lot more people counting on me these days. But when I make a commitment to a story, I stick with it. If someone terminally ill approached me as you suggest, I would provide a loose sketch of what lies ahead (the only kind of information I *can* provide); and I would ask that person not to share the information with anyone else. What if the person who approached me was lying? Not my problem. I'm not responsible for the honesty of other people. I'm only responsible for the meaning of my own life; and the meaning I choose to create requires certain varieties of kindness. (06/23/2004) Brian McCorry [Kaseryn, intentionally misspelt]:  Dear Mr Donaldson. It seems almost redundant now to add to the effusive praise and thanks that have accumulated over the course of this interview, but having had no channel of communication in the past and knowing that you'll soon be a lot busier i find I can't let the chance pass to add my voice to the chorus of approval. I've read and loved most of your work, but the TC Chronicles - my first 'fantasy' read and actually first real read as a young adult - left the most indelible impression on me. Many readers seem to come to them around adolescence and are moved at the time.. i think a lot of the themes strike particularly true at that time when so much of your own world-self perspective is in flux.. I eulogise about the works to anyone i think i might be able to convince to read them and have often given sets away in the hope of making a convert. As a previous poster said, its not the setting, in this case fantasy, that matters, but what happens within it. I cannot stress it enough.. If anything i think the fantasy tag has let you cram more of what is important about life and being human in a story than might be possible or tolerated if told in other ways. With respect to Tolkien, i've always found the quote on the British editions 'Comparable to Tolkien at his best' rather offensive, and not giving enough of the respect your work deserves in it's own right. I came to LOTR later and for me as great a masterpiece it may be, and the debt owed for the genre.. it's chalk and cheese substantively. I wont go any further than that, and certainly don't mean to make you uncomfortable.. but when something is this good, the comparison becomes meaningless. (And by the way, i always took it to mean comparable to tolkien at HIS [Tolkiens] best) although others may have read it differently.. Going back and rereading the books every year or so is a constant process of self-rediscovery. So rich and searching of the reader are they i find my changes in thought, value and perspective held up every time, it's like a sort of spiritual travelog. I know they are not your most beloved work but for me they are far the more personal, and i would have you know that this person at least, considers them masterpieces awaiting their due recognition. We don't read these books, we live them.. so potent are they. And i LOVE your use of lanuage! I haven't read very widely but i do enjoy artistry in construction and description. A dictionary was always at had for those first reads, but more than expanding the known vocabulary, i found myself admiring your ability to, what was to my mind, draw upon shades of meaning from words that were familiar to us but less so in the senses you used them. To quote myself, in discussions regarding your use of language on The Watch, of which you will not be surprised to know have been many, your writing often borders the poetic, and has therefore earnt the license that implies. Which is not to say, hell if he talks gibberish.. but that it serves your meaning, and conveys it. Ok, having thoroughly embarassed you may i just thank you again for your time and your work. I'm gutted I won't be able to make Elohimfest but if this much contact has these results perhaps its for the best lol One question, will you be doing any readings and/or book signings in the UK? Sincere Gratitude Kas :) Well, thanks! That's a lot. And I agree with you that fantasy allows me to discuss the "big questions" more freely than I could in another genre. (You should see the contortions I go through to write mystery novels. <grin>) For more on that, you might be interested in my essay on "epic fantasy," downloadable from this site. I'm afraid I won't have any choice: I'll have to do some signings (which occasionally include readings) in the UK. Gollancz/Orion will burn me in effigy if I don't. So I should be over there in November. But of course I haven't been vouchsafed any details. Come to think of it, the Brits *never* vouchsafe me any details: they don't tell me what I'm doing until I get there. (06/25/2004) Anonymous:  First, I’d like to say I’ve been a huge fan of yours since I read the First Chronicles when I was in junior high school and have anxiously awaited all of your new releases. And thank you so much for answering our questions. As an aspiring fantasy writer, I’m always curious for insight into the processes of other writers. You answered a previous question regarding your process and I agree that all writers need to find what works for them, but I find it helpful to hear as much as I can from others. So, if you are comfortable sharing this with us, how ‘polished’ is your first draft, and how drastic does the manuscript change on subsequent drafts? Would we be surprised at how different the first is from the final product, or have you developed as a writer to the point where you can sit down and write pretty close to what we will see in the end? With regards to your body of work, I’ve always been impressed by the added – what I would call – ethical layer of your stories. As I perceive this, in the Thomas Covenant books it was the question, “What was Covenant’s moral responsibility to Lena, the people of The Land and The Land itself if this was all a figment of his imagination?” In Mordant’s need, “What right did the people of Mordant have to force Teresa and the Champion to serve them, if in fact they existed outside of Mordant?” And in The Gap series, “How ‘evil’ are the Amnion if their need to mutate is simply a part of their nature?” Are you very conscious of these questions when you begin a story, or do they develop as you go? And were you aware of how Mordant’s Need seemed to mirror Covenant in the question of existence – in Mordant, the character’s existence was in question, in Covenant, the world’s? Vinny F I rewrite a LOT. In that sense, readers who saw my first draft might be quite surprised by how much the final version has changed. But I virtually never change what happens--or the order in which it happens. I've been known to change the viewpoint of a scene completely. Or to alter all the dialogue in a scene. But by and large I do what my agent calls "invisible rewrites." He can seldom figure out what I did differently in each succeeding version of the story: he just knows that version by version the story becomes tighter, clearer, more vivid, and more exciting. When I'm done, he sometimes says my prose "reads like the wind"--and he *never* says that about my first drafts. The "ethical layer" in my stories. Of course I'm (very) conscious of that. I'm (very) conscious of it in *life.* But, as I've tried to explain elsewhere, I don't set out to develop an ethical theme. I set out to tell a story; and while I'm doing that, I try to put as much of myself as possible at the service of the story. So naturally every story I tell turns out to emphasize the themes and concerns that I happen to be capable of emphasizing. If I were a different person, I would inevitably emphasize different things. But the POINT--as I keep trying to say--is not to preach ethics. The POINT is to allow each story to elicit from me as much of, well, everything as I'm capable of providing. Incidentally, I was quite conscious of the way in which "Mordant's Need" appears to invert some of the themes of "Covenant." In that respect, "Mordant's Need" pushes the themes of "Covenant" further. When Covenant's "Is the Land real?" becomes Terisa's "Am I real?" I'm trying to take the whole "nature of reality" issue to a deeper level. Because *really* it is not the Land Covenant doubts: it is himself. He doesn't believe in the reality of his own heart. Doubting the Land is just an excuse to avoid facing his true fear (and his true power). These themes are, of course, developed even more fully (and, I hope, more deeply) in the GAP books. Never mind my mystery novels. (06/25/2004) Brad:  The Killing Stroke is easily my favorite short story ever. I was wondering what philosophy, if any, inspired the concept 'there is no killing stroke', and what disciplines you modeled the clan types after.... Also, thank you for writing the Last Chronicles, I've been hoping you would follow up on them for ten years. -B Actually, I tried not to "model" my clan types on particular disciplines. Nevertheless there is quite a bit of "bleed-through." You don't have to look very far to see elements of Ninjitsu, or of "hard" (linear) styles like Shotokan and Shorin-Ryu vs "soft" (circular) styles like Tumpai and Wing Chun. I developed the philosophy behind the "there is no killing stroke" concept through my own study of Shotokan; but the concept is not one that I've ever been taught (either as part of Shotokan or as an element in any of the many other styles I've been exposed to). But as my training progressed I gradually came to believe that there is no such thing as a "victim" (except to the extent that many people are self-victimized). There is, of course, such as thing as "prey"; and when a predator comes after you, you are commonly referred to as a "victim." But there's a useful distinction to be made here. In my lexicon, "prey" has no say in the matter: "victim" does (hence the emphasis on self-victimization). To pick a crude example: a woman is attacked by a rapist. She is "prey" (i.e. she has no responsibility whatsoever for the fact that she was chosen for attack). And if she fights back with all of her resources (as "prey" always does in nature), she remains "prey." But if she gives up on herself and submits, she becomes a "victim"--and she is self-victimized by her decision to give up on herself. The important point (in "The Killing Stroke" as in life) is: how do you *choose* to respond to the behavior of a predator? And if your attacker is *not* a predator (i.e. you've chosen to engage in combat when you could have avoided the fight, as in running like hell away from the rapist, or staying out of vulnerable situations), then you have--in effect--chosen your own fate. Your attacker becomes merely the instrument of your own will. Therefore "there is no killing stroke": there is only the decision to be killed, or to not be killed. And if you choose not to be killed, you don't get to call yourself a "victim," since your will determined what happened. I'm afraid this isn't very clear. Sorry about that. Maybe I'll try again when somebody flames me for criticizing rape victims (which is definitely NOT what I'm trying to do here). (06/25/2004) mike white:  Dear Mr Donaldson - just to make you aware of this - surely this is illegal? http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=378&item=6905025591&rd=1&ssPageName=WD2V#ebayphotohosting Actually, it may *not* be illegal. (Is it illegal for you to auction off your xmas presents?) ARCs are given to reviewers, and they are not intended for resale. But in order to make an issue out of it, the publisher might first have to prove that the ARC was not used for its original purpose--and after all, there's never a guarantee that a reviewer will review a particular book. As a result, it isn't worth a publisher's time and money to worry about what happens to an ARC once it's been sent out. However, I personally consider it rude, crude, and--possibly--immoral to turn a profit on gifts. If I were given an ARC I didn't want, I would donate it to some worthy cause (a library, a poor friend, whatever). (06/26/2004) Peter Purcell:  You've mentioned your children and their reading habits (Piers Anthony - Xanth series - not bad Fantasy junk food for the brain!) That got me wondering: what is their favorite from your works? They must be very proud of their dad! Have you ever thought of authoring a Young Adult book ala Stephen King "The Eyes of the Dragon" dedicated to your children? Perhaps one for any / future grandchildren? Lastly, thanks for being so open and generous with your fans. It is extremely appreciated by all of us. It is rare that literature pulls us in and makes us care (or hate) and FEEL so much about the characters and the stories. It is extraordinary to be able to connect to their author. Peter My kids are now way too old for YA books. But I've tried to say before in this interview that I don't (consciously) choose what I'm going to write. Ideas come to me to be written. If I don't write the ideas I get, I'll stop being given ideas. So I never ask myself, "What would I like to write?" (Or-shudder--"What would I approve of writing?") I ask myself, "What have I been given to write?" (06/26/2004) Paul S:  This is an unbelievable opportunity. I've never heard of an author taking and answering questions over the course of months! Thank you for your time, not to mention your excellent books. I've read your fantasy and sci-fi books, etc. except your mysteries. I've just never really enjoyed mysteries -- all that thinking about "who dunnit" is too much like work! -- however, I'm really into Martial Arts (been involved for about 20 years, on and off) and having read during this interview that you've worked it in to your mysteries, I think I have to start reading them. My question is (and I've re-skimmed the entire interview to make sure I'm not reiterating a previous question, but please forgive if I am): You've mentioned several authors that you don't read and that you don't read your own work (not surprising)... so who do you read? What, if anything, are you reading now? Do you tend toward fiction or non-fiction for your leisure reading? I read almost exclusively fiction, in part because that's what I love to read, in part because I feel loyal to the kind of work I'm committed to, and in part because I believe you can learn more from a good story than from almost any form of non-fiction. (Certainly I've learned far more about writing from reading fiction writers than from, say, all of the literary criticism I studied--and practiced--in college and graduate school.) Currently I'm reading Sean Russell's "The Isle of Battle." Before that it was China Mieville's "Perdido Street Station," and before that it was Steven Erikson's "Midnight Tides." As a general rule, I read all of the Russell, McKillip, Erikson, and Powers I can get my hands on. Oh, and David Gemmell. I've already read all of the Paul Scott there is: I'm sorry there isn't more. I'm slowly working my way through the complete Sir Walter Scott; and I regularly re-read William Faulkner, Joseph Conrad, Henry James, George Meredith, and Ford Maddox Ford. Sadly, I'm a very *slow* reader, so I can't do everything I would like (e.g. re-read all of Shakespeare). (06/26/2004) Rex:  Gee, now that you are NEVER GOING TO DIE, you'll be able to see which of us mean it when we say we're *eternally* grateful for your work. My question is: do you have a minimum amount of time that you set aside for writing, for example "at least 3 hours per day" or "at least 3 pages per day"? Generally speaking, I keep "businessman's hours": I get into my office between 8 and 9am five days a week, and leave between 4 and 5pm. How much *writing* I get done during that time depends on a whole host of factors, like how often my #^$#%$ phone rings, which Herculean labors my publishers want me to undertake *immediately*, how many of my appliances need repair toDAY, and whether or not someone I love is experiencing a crisis. (06/26/2004) John Thomas:  Has the thomas coventant chronicles come out on audio if not will the 1st and 2nd ever and will the new ones? John There has never been an audio version of the first and second "Covenant" trilogies, and I doubt that there ever will be. But if "Runes" becomes a monster bestseller, or if any of the "Chronicles" is made into a successful movie, everything could change. Doors would then open which have been firmly shut (not to mention locked) until now. However, an audio version of "Runes" (complete) is in the works: I believe it's projected to appear on 12 CDs. When, I don't know. If it sells well enough, the subsequent volumes of "The Last Chronicles" may also get audio versions; but so far no commitments have been made. (06/27/2004) Ross Edwards:  Dear Mr. Donaldson, Found a typo in the Runes of the Earth prologue chapter on this site. On page 8, paragraph 10, the text reads "We brought her up her[e], tied..." Thought you'd like to know, just in case changes can still be made before printing. It's not too late. Thanks for letting me know! (06/29/2004) Casey Cady:  Hi! I stumbled upon your upcoming new book on the Hill House Website. I own the Hill House limited edition of American Gods, by Neil Gaiman, and have to say, I look forward to their production of the your Thomas Covenant books. Anyway, to the point: It was your Gap books that first piqued my interest in Wagner, and opera in general. I saw the Seattle Opera production of the Ring Cycle back in 2001, and loved it! I'm lucky enough to live in Seattle, where the Seattle Opera is pretty well known for their Wagner. Did you catch the last Seattle Opera production of the Ring Cycle? And can you tell me what your favorite production you've seen was? Do you plan on going to see it next year? Thanks for the great books! Casey Since I don't live anywhere near Seattle, I've never had the pleasure of seeing any of their productions. In fact, I've never seen the "Ring" live (although I did get to see "The Valkyrie" at the Met in NY a number of years ago). But I've seen two productions on PBS, one from Bayreuth roughly 20 years ago (the Chereau/Boulez production) and one from the Met closer to 10 years ago (the Levine production). Of the two, the Bayreuth one is *far* stronger, not because of the staging, but because the cast and conductor are much superior. (06/30/2004) Lynne (aliantha):  I'd like to chime in with my thanks to you for answering our questions -- it is *so* cool that you are spending so much time on this. A thousand times that thanks for writing the books in the first place; I've read them all, except for one of the mysteries which I haven't been able to find, and have enjoyed them all (okay, maybe I enjoyed the GAP books less than the others -- sorry, I know they're your favorites). And a thousand thousand times that thanks for telling us why you need an editor, because when I write, I need an editor for the same reasons, and here I thought it was just me! :) I'm re-reading TCTC (again) in preparation for the release of "Runes" in the fall, to refresh my memory (well, that's my cover story; I'm actually looking for all the doors you left open for the Last Chrons). My question regards the name ak-Haru Kenaustin Ardenol: Who's Ken Austin? Looking forward to seeing you on your book tour when you come to the DC area. (Yes, I did say "when"; I'm thinking positively!) Sorry, though, you can't stay at my house -- you'd have to sleep in the basement, and trust me, you don't want to do that. :) Thanks again! P.S. No, no, no, not Ralph Fiennes for Nick. I *like* Ralph Fiennes. Nick's scum. (That's a purely female reaction, of course.) Ken Austin is actually the younger (although much better looking) brother of the far more famous Tex Austin. Nick may be scum, but he's irresistable-to-women scum. So I repeat: why *not* Ralph Fiennes? <grin> (06/30/2004) eggy bread:  Hello hose donaldson so good it is to hear of your recent endeavors in the writing of 'runes of the earth'. My question is this, will the 'atlas of the land' by karen wynn fonstad be reprinted in promotion of the new books? (i know this isnt greatly relevant, its probably more of your publishers idea type-thingy) it would be nice to own one (grin) although not essential. thank you ....ciao x x x I consider it HIGHLY unlikely that "The Atlas of the Land" will ever be reprinted. It sold very poorly when it first came out, and the rights have long since been reverted to the author. But, as I've said before, if "Runes" becomes a monster bestseller, or Hollywood makes a successful "Covenant" movie, almost anything will become possible. (06/30/2004) Michael from Santa Fe:  Being a fellow New Mexican, I have to ask: Red or Green? Red exclusively. I know this is heresy, but I don't like the taste--or much of anything else--about green. (06/30/2004)