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Author's Spotlight "Sylvia Kelso"

We are thrilled to have Sylvia Kelso, author of Amberlight, joining us here at Dreamtime today for our Author Spotlight.

Moon: Think about the person you admire most. How would they describe what Sylvia Kelso is all about?

Sylvia: Oh, jeepers!! Only ONE person?!?!?!? Can’t I have one for music, one for academia, and one for writing…? But even there I’d need sub-divisions. Like, high literature, genre literature, fiction, short stories, poetry…. And to tell truth, many of my Most Admired writers are defunct – “late,” as they so charmingly say in the McCall Smith Botswana books – so they wd. have nothing to say about me anyway. And most of the Most Admired musos and academics wd. never have heard of me.

Eh. I think this one might be a damp squib, Moon. Or shd. we limit it to, persons alive and actually acquainted with me???

Moon: *laugh* Sounds like you might like to talk about the people (alive or dead) who've inspired and made you who you are? Go for it!

Sylvia: *That's* a bit more doable! OK, them that inspired me and made me who I

Well, this is going to sound quite weird, but probably the greatest long-term inspiration in my life wd. have to be Hannibal, the Carthaginian general who nearly wiped Rome off the map back in the 3rd Century BC. I first read about him in the Roman historian Livy while studying secondary school Latin, and he captured me on the spot. Not just because of his wicked battlefield joke or his devious military ruses, but for his huge imagination, and in more that exploits like getting elephants over the Alps. Most of all, for his courage and determination and the unswerving loyalty to his nation, that kept him fighting all his life, and eventually killed him, all for the sake of a losing cause.

He didn't just inspire my first serious fiction, with a historical novel about his life. His example has influenced me in almost everything I've done, from getting a PhD to learning, in late adulthood (there's a euphemism!) to play the violin. He taught me never to give up, no matter how hopeless it looks, and there's no inspiration more valuable, especially in writing, and, of course, publishing.

I guess the top of the writing list wd. have to be J. R. R. Tolkien, since the books I've published are all fantasy, and high fantasy, and JRRT wrote the modern book on that, literally. From the first time I managed to get my nose into LotR, which was only when the Allen and Unwin hardcover edition hit Australia in the middle-'60s, I was sucked headlong into Middle-Earth. Great characters, amazing story, but it's the world itself captured me. So in my own fantasy, I've tried above all to capture that sense of numinous Otherness that I find in Middle-Earth. Something beautiful, desirable, but ultimately and piercingly Not Here.

Moon: When did you first know you wanted to be a writer?

Sylvia: I don’t think I ever “knew” I wanted to write. But even before I *could* write, in the sense of use a pen, I did always play/work with words. I used to tell stories to my brothers after Lights Out when we were kids – somewhat like Isabel Carmody, the Australian YA writer. When I was 8 or 9 I started writing (very bad!) poetry. When I was 12 or so, I “wanted to be” either a chook (poultry) farmer, or an archaeologist. Writing was just something I did, the same way I breathed, and almost as necessarily. In my teens I was drifting toward longer fiction when that Latin class and Hannibal came along, and re-oriented everything.

Even though I eventually scrapped it as internally flawed, that novel was the first piece that had publication as its event horizon. So perhaps you could say I actually aimed to become a writer, around the mid-‘70s. When I realized I’d have to go to Europe to research the actual places as well as the historical artifacts I needed. And faced with that expense and effort, I did consciously decide, if with bated breath and lots of qualms, that, yes, this one was supposed to go somewhere beyond my own manuscript. This one was “serious.”

Moon: What was your first published works?

Sylvia: Grin. My first published works, as in printed, if not for money, were three poems in the school magazine in my final year. At least, I think it was three.

Moon: So, is Amberlight you first novel?

Sylvia: Not by a long shot. The first novel I ever tried to write was a very bad Ben Hur clone, started in the back of an exercise book, about three years before I left school. It died an early an unlamented death. Then there was Frankenstein’s Monster, the big historical about the Punic War. Then, when I scrapped that and came back to Oz, a series of shorter fantasy novels, currently coming out, I hope, with Five Star/Gale. At least, they’ve published two and bought the 3rd one, *The Red Country,* which is a real thrill for me. It’s due out in October 2008.

Amberlight will be my third published novel, though it was actually written after that series finished, and also after a second series, in the same world, but a lot later historically. I’m still trying to get the header of that one afloat. Amberlight also kicks off a series, though in a completely different world. Paula Guran at Juno has bought the second one, *Riversend*, which is scheduled for release in November 2008. I have hopes that the third one might also see the light of publishing day, but at this stage it’s just a hope.

Moon: Tell us a bit about what inspired Amberlight and its upcoming sequel Riversend.

Sylvia: *Amberlight* I think this one began, as some others did, with undirected right brain activity. That is, not alpha-state, but one where anything can happen; a sort of ground-zero-field reverie. I do know what the kick-off images were: thinking about describing a city by moonlight, which instantly morphed into Daulatabad, the amazing Indian medieval fortress – it’s pre-Moghul – and then some of the huge granite boulders beside the road up our coastal range. Those, combined with the Daulatabad wall that’s built into the hillside, so you have to cross it by tunnel, became the first image of the qherrique.

*Riversend* was a different kettle of fish, because, as a sequel, it already had a set-up world. What inspired it was the usual spring for sequels with me: the Black Gang, the creative dynamo I think is situated somewhere in the right brain (I stole the name from a Lois Bujold novel) started nagging about, OK, we finished Amberlight. But *what happened then*?

In a sense, Amberlight was a far easier book to write, because it was about change in an existing society. Riversend starts at the tricky part. Precisely how do you put the new version together, and make it work? And the society left at the end of *Amberlight* isn’t just rife with problems, but is predicated on a vision - if you like, a dream – of a better, different situation. I thought it wd. just be for the people of Amberlight, but it turned out, when we got into the 3rd book, that it was a narrative domino effect, as my MA supervisor once described it. The events begun in *Amberlight* went on to change the series’ whole political, if not physical, world.

Moon: What’s Amberlight about?

Sylvia: “A city.

A mystery.

An impossible love affair.”

I guess the longer version wd. be, the city, Amberlight, is the ruler of its world, set along a river somewhat like the Nile, because Amberlight has the monopoly on qherrique – the mystery, and it’s taken me three books to figure it out, with a fourth one still in the thinking stage. But it’s neither animal, vegetable, nor mineral, though it has qualities of all three. It is photosynthetic, it’s also pizo-electric – it feeds on light and it makes an analogue of electricity – it has some kind of pychic qualities in relations to humans, and it’s not an alien. It belongs in its world.

And while any ruler can use a qherrique statuette “tuned” to him or her to help “control” his/her people, only women can actually craft qherrique, and only women of Amberlight, and then only Amberlight women who have the Craft ability.

At the next level, the story is about people. The people involved with the qherrique, in and out of Amberlight, and what the presence of such a power does to people, at the personal and the social level. And at the next level, it’s about self-discovery, enlightenment, and finally, the righting of injustice. At a more than personal level, not always by conscious choice, and not all by human agency.

As for the theme… When my first two readers, to whom the book is dedicated, finished Amberlight, Justine immediately said, It’s a battle of the sexes. She was then doing a PhD on the battle of the sexes in SF, surprise. And I realized that it was, but that’s not what I’d have said was its theme. So I’ll leave that one for the people who, I hope, will read the book. 

Moon: What draws you creatively to the fantasy genre? 

Sylvia: I kind of fell into fantasy when (as may have been mentioned before) the first sentence of my first fantasy novel, “Nobody knows where the dragon came from,” tapped me on the shoulder in the shower. Before that I had never actually intended to write fantasy. After that I suddenly had a string of follow-on sequels and new series and found I was primarily a fantasy writer.

But creatively, I like fantasy because it’s a non-realist genre like SF, which allows you to do world-building. And I love to explore new worlds and develop new landscapes, not to mention meet new people in different societies. Society building is even more complex and fascinating than world building. The other fun thing about fantasy is that it doesn’t demand the amount of scientific or pseudo-scientific justification and/or data dumps that seem to be required in so much SF. If you want to go to a secondary world in fantasy, you don’t have to invent a space diaspora and/or a faster-than-light spaceship. You can just nick through a reality slip in the second basement file in the library, or the back of the guest-room wardrobe. It does have limitations of late, eg. a lot of Tolkien clones on one hand and an over-supply of “paranormal” urban contemporary fantasy on the other, and an overall tendency to dumb down the writing, but it retains both the possibility of that truly numinous Otherwhere, and that imaginative flexibility.

Moon: Sounds like you enjoy the research element to world-creating as well. What’s the most mind-stretching bit of research you ever had to tackle?

Sylvia: Oh, undoubtedly the set-up for my (as yet unpublished) SF novels, Following Eurydice and An Apple for Persephone. It all started with a v. vivid Cinerama dream – if I’d had a brain-recorder I cd. have made an instant Hollywood blockbuster of that. The most vivid sequence was picking up some amazing ancient jewelry, dropped up a hillside beside this massive colonnade, the dark red of the Knossos restorations. There were a few fragments about flight or rescue into a dark tunnel-mouth, and the title, but the one thing I knew for sure was, the site was on our local hill. The images were so vivid that one instantly spawned the opening paragraph – after which I had a mysterious narrator, a fabulous artifact, and the question, what was an ancient Greek city doing here?

The White Gang, aka my conscious editing brain, ruled that it was probably be founded by Macedonians, the most widely traveled Greeks. OK, I asked the Black Gang, how do you explain that? And they hit me with a pair of doozies. Alternate history: Alexander didn’t get his army to China, but he didn’t turn back in India. Because in this world, Australia never fell off Gondwana. So the Macedonians just kept going. They marched clear along the northern shore of “Megaustralia,” the Great South Land, turned the “corner” at Cape York, and ended up in “Ibisville.”

After I stopped gasping and squeaking, the White Gang said, Why not? So I spent eighteen months roping in live experts like geologists, an NQ botanist, a quantum physicist, various non-local archaologists, experts in fabrics and dyes and diving on the Reef, and researching everything from the account of a ship-wrecked sailor who lived 14 years with a local Murri (aborigine) tribe, to the minutiae of ancient Greek life – did they eat breakfast? Did they wear hats? How did they swear? Does this fit all Greeks, or just Spartans or Athenians? Did Macedonians actually speak Greek at all? And how would all that change after 200 years in close contact with Murri people?

Most of that was before I wrote the second paragraph.

Then there was the geological, geographical extrapolation – how does the climate look, just for starters, with the whole Gondwanan landmass still intact in 300 BC? And the alternate history of Alexander’s campaigns to fabricate, and the question of an ancient Greek economy in NQ - can you grow olives here? Yes. Run sheep? Yes, up over the range. Grow grapes? Sure, just up over the range. Find tin and copper? (Needed for bronze, the sinew of ancient war) Yep, right over the next piece of range… What wd. you use for tiles and building stone? Plenty of clay, but watch out for the local granite, there’s high radioactivity on that hill… (I kid you not, I was warned about that by one of the consulting geologists.) Not to mention who the protagonist /narrator actually was, and what she was doing “here.” Which meant deciding if she was a Classicist or an archaeologist – she had to be one or the other to know enough about ancient Greeks – and then fabricating a CV for her, when I decided she shd. be an archaeologist, which meant researching the various branches of contemporary archaeology… .

It was probably the most massive research project I ever embarked on, including my academic PhD.

Moon: I applaud you for pulling all of that off. That would have broken my brain. What comes first when you get the idea for a new story? The characters, the setting, the plot?

Sylvia: Grin. I dunno that I did pull it off. I did get a Creative Writing MA out of it, and a lot of theoretical/academic mileage, but I’m still looking for a publisher, alas.

As for what comes first in a new one, it varies from a sentence (for Everran’s Bane) to a scene – as in setting - (Amberlight) to a dream, as with the SF novel, to a rumination on a character or incident I’ve read or heard about, to a snatch of dialogue – I have an entire novel grown round the line, “I’m here to kill the emperor – what else?” Or just a zero-field reverie that sparks off a query/scene.

The last novel I finished, a cross of mystery and time travel romance, started with a rumination about ghosts that appear walking knee-deep in floors, or up stairs that aren’t there. Next thing I had a lawyer in a lift (elevator) in our equivalent of a down-town skyscraper, and a guy in cabbage-tree hat, with an armful of gold-prospector’s tools, walking out of the floor. And another 12 months’ research about lawyers, their codes and discourses, the history, geography of the nearest big goldfield, and of course the “digger’s” back-history it turned out that included the modern history of Ireland, since he proved to be a Roman Catholic activist from the (now) northern border land in County Tyrone …

Usually, though, the characters or the setting come first, and the plot follows in answer to queries like, Who is this person? What are they doing here? Why did they do this? And of course, the master question for any story: What Happened Then?

Moon: You have a very interesting process there. So, tell us what getting that first publishing contract was like. I bet that one has a story with it.

Sylvia: I’m going to disappoint you, I fear! As such things go, the story is pretty ordinary. The usual process of trying all possible accessible slush piles and climbing on as many friends’ backs as possible, and collecting rejections – though not up to the 26 it’s reputed names like Frederick Forsyth and others managed before hitting the jackpot – until a steer from my very good mate Lillian Stewart Carl (our acquaintance is a story in itself) led me to put in the ms of Everran’s Bane to FiveStar/Gale books. Fivestar are a mid-size offshoot of a much bigger company, and they were starting a specfiction line, with under 100 thousand word-limits, which Bane fitted, a rarity among my stuff. For once I struck a reader who liked my work rather than vice versa, who sent off an enthusiastic report, and ta-da! They sent an offer. Needless to say, the predictable rash of ecstatic e-mails went off like fireworks in all directions, grin. And then of course came a new steep learning curve, shifting from all the things you need to learn to have a chance of getting an ms accepted, to the quite different info and operations you need when one has been picked up.

Moon: Like working with an editor perhaps? Share with us some of the things you learned during the process of working with a professional editor on your novels.

Sylvia: I was apprehensive about working with professional editors, because from the writers’ view, you hear so many horror stories about what can go wrong in that relationship. But so far, I’ve been very lucky with my line and copy editors, or else the mid-size and smaller houses who’ve taken my mss have liked my work enough to take it relatively intact, because my mss have hardly required more than word-dinks, for clarity or US/Australian spelling variation, or maybe some work on single scenes, to expand or make better sense.

Basically working with editors has first confirmed two of the most important lessons I think you need for selling or editing an ms. First, Never Say No Today. And second, Don’t Nail *Any* Colours to the Mast. 

That is, regard whatever you’ve written as relatively plastic, unless the change compromises the whole ms beyond acceptance, and secondly, give yourself time to respond to requests. I learnt that a few years ago when Garth Nix, who was working as an agent at the time, liked one of my novels, but asked me to change the opening. Eep. This was a book a few years old, set in relative concrete, I thought. But I said, Let me think about it. The day went on – I was at a conference in Sydney – and by evening, the Black Gang had not only taken to the idea, but figured a way to do it.

So if you accustom your creative system to re-thinking, it’s not a huge deal, provided you can give yourself time. And usually, you can trust the system to come up with something as good, if not better. So long as you haven’t already mentally said a blanket, Stet – make this stand – and nailed that nailed to the mast!

Probably both those lessons come under the rubric of, Learning to Negotiate. Which may mean give and take, or heh, horse-trading. “I’ll change this if I can have that as it was…” And with that, a sense for the point at which you do say, “Stet,” and mean it, which is as much a gut-feeling as anything else. I’ve been very lucky, that with nearly everything where I’ve demanded a “Stet,” my editors have been happy to let it go.

Give and take was paramount important with Paula Guran, at Juno books, who not only bought but had the devilish task of editing *Amberlight* for the “ordinary” reader. Poor Paula had to pick out the knots in some very compact, poetically charged language, whose rhythm was central and whose meaning was condensed and cryptic or misleading as a result, to the accompaniment of anxious wails of, But the rhythm’s gonna get lost! But Paula is an amazing editor, with a really good ear for individual styles, and patience, and willingness to listen, and though there were some “Stets,” I can’t recall any cases that she really did want changed, where, with a little time, I couldn’t find something that fitted the rhythm but still improved the sense.

Moon: Are you a full time writer, or is there another side to Sylvia?

Sylvia: Eh. My mate Lois Bujold divides herself into the writer, the person who actually puts the words on the page, and the author, the one who goes out and promos and sells the books etc. I have been a writer, or a putter of words on something (page or screen!) since I learnt to write. I’ve only been an author in about the last 4 years, with about 10 years before that where I was on and off a wannabe author – that is, actually trying to get stuff published, rather than just writing for myself and an ms audience.

But you probably mean, do I have another career, well, for quite a while I’ve been an academic, now an adjunct lecturer at the local University, where I’ve taught since about 1985 in the English department in its various avatars (now part of the School of Arts and Social Sciences.) I usually teach English literature in some form, and of late had inherited the school’s Creative Writing subjects, though I don’t know if this will continue due to lack of funds. I do like teaching, and very nearly turned to academia full time after I finally got my PhD, as a mature age student, in 1997. (A long time after my BA with first-class hons, the stepping stone to a PhD).

Apart from that, I’ve also learnt, at a mature age, to play two musical instruments – well, one and a half, I’m still learning the violin – and been lucky enough to play with some local guys in an informal Celtic group. We do spasmodic gigs round town and at the NQ folk festivals, but mostly just have a good time playing together. To be playing rather than listening to music was something of a revelation to me. The Black Gang, who I am pretty sure live in the right brain, absolutely loved it, esp. Celtic music, because it’s about rhythm above anything else, and rhythm, as I may have mentioned, is a big factor in my writing. The left brain deals with symbolic stuff like meaning, but the right brain does the other holistic and semiotic stuff like rhythm and sound and play in words, and my right brain has a bit place in my writing. But music was like the right brain’s own special area, with no left brain intervention at all. The Gang used to go crazy when I first started playing with other people, especially. I wd. wake up with bits of tunes in my head about every two hours for the next couple of nights.

Moon: How does your connection with music affect your writing? Do you listen to music for inspiration, or while writing as well?

Sylvia: Nooo, strangely enough, music per se doesn’t impinge on writing v. much at all. Possibly because playing music is such a recent part, compared to writing, in my life. If I’m writing, in the proper sense, ie. a first draft or so on for fiction, I don’t listen to anything. Except the pattern of the words and whatever’s coming to life with them. You cd. probably let off a small bomb nearby and I wdn’t notice. In fact, I can’t recall anything I’ve ever written that was inspired by music, though I do have some music I’ve tried to ‘compose,’ that’s meant to go with a couple of my books: used for a promo vid currently up on YouTube for The Moving Water, and I hope to have one for the sequel, The Red Country, coming out in October 2008.

Mostly, if I listen to music, I prefer to make it my actual occupation: good music, I figure, warrants my whole attention, not to be used as a background to something else.

Moon: Do you listen to Celtic music for enjoyment or do you like other types of music as well

Sylvia: Lately I seem to have been mostly picking Celtic music, if only on learning CDs, heh, but I do love classical as well, and some of the fascinating less-known folk/ethnic variations, like Cajun or Breton music.

Moon: What can all of us look forward in the future from Sylvia Kelso? Where do you see yourself and your writing in a year? Five years?

Sylvia: Eh. What all of us can look forward to from SK is, as they say, largely in the lap of the gods when it comes to publishing. So far as that goes, you can look forward almost certainly to two new releases in 2008. The sequel to the Five Star books, The Red Country, has been turned in, shd. soon be in production, and is due for release in October 2008.

And the sequel to Amberlight, Riversend, has been bought by and submitted to Juno, and is presently scheduled for release in November of 2008. I’m really hoping that one makes it out. Amberlight is somewhat experimental in style but not so much in gender politics, but Riversend really pushes the envelope in both. I’d really like to get it nominated for the James Tiptree Jr. Award.

As for five years, who knows? That will depend on the vagaries of readers and the market and the bigger vagaries of the world at large, incl. global warming and other such bogeys. I’d *like* to think these coming books will do well enough for the publishers to buy their sequels – there are more to come in both series – and also that I could sell some of the others that have been hovering on and off publishers’ desks, esp. the alternate Queenslands SF sequence. But … quien sabe? Not me.

As for where I see my writing in a year or five years, I expect I’ll still be doing it. It’s been a necessity of life for so long I expect in old age to be peering at a screen or mumbling into a voice recorder, still answering the siren lure of, Who is this Person? And the even greater lure of, What Happened Then?

Moon: It’s been a blast talking to you, Sylvia. Before we open up to reader comments, one last question. If you could live in any time in history, when would it be and what would you do there?

Sylvia: That’s a tempting one. However, there’d have to be certain preamble questions. Like, live as a man or a woman? And, live there for good, or just flip in on a time-machine and back home again?

Trouble is, most of the times I’d most like to “see,” wd. be among the worst to actually live through – the Boudiccan Revolt in Britain, the Second Punic War, naturally – but only if I cd. be someone who might see or meet Hannibal, without getting killed fighting either for or against him, or just mashed up among the civilian casualties! 

Ironically, the other times I really would like to have lived wd. be the exact opposites. They’d be either Egypt in the Old Kingdom, the time of the great pyramid builders, or else Europe in the Neolithic or Paleaolithic ages. In Egypt, I’d want to be a well-born woman, because they probably had more freedom there and then than anywhere except, possibly, Minoan Crete.

In the Stone Ages, though, I’d want to be a man, one who actually worked on one of the great megalithic constructions – I use the word because I don’t know if they were actually temples, or tombs, or observatories, and really, nobody else does either – like New Grange in Ireland. Not least for the sheer achievement: the sun’s still hitting just off centre at the back of the main chamber at New Grange on winter solstice, and the roof has never leaked in some 4500 years – but also for the atmosphere New Grange at least preserves, that unbroken numinousness. Whatever it was they built it for, or did there, they didn’t have to believe in what it was saying. They knew. Even the medieval cathedrals don’t speak that kind of certainty.

OF course, such trips would still need something like a 21st C. consciousness, to know what I was seeing from the outside, so to speak. But if living wherever meant being there for life, then I’d just as soon have my own lifespan, when so many amazing things have happened, and a few things have been improved, at least in technology and science and medicine, in my own corner of the world.

If you want to learn more about Sylvia check out her website.

New books: *The Moving Water* Five Star, April 2007 

*Amberlight*, Juno Books, November 2007 

*Amberlight* on YouTube

*Everran's Bane* on YouTube

*The Moving Water* on YouTube


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( 6 comments — Leave a comment )
Nov. 25th, 2007 12:22 pm (UTC)
hannibal's battlefield joke.
Oh gee, you academics! Woman, you've got to tell me what was Hannibal's wicked battlefield joke?

I suspect those classical warriors really affect us writers more than we know. One of my favorite lines was from Genghis Khan: "Kill everyone and leave no eye open to weep for the dead." So of course that line ended up you know where.

I hope you do get the Triptree award. Amberlight is excellent.
Congratulations! -C
Nov. 25th, 2007 11:24 pm (UTC)
Re: hannibal's battlefield joke.
Oh, I can't resist telling that one in full now, since Moon's given me licence to gas...

I don't know how it got into Livy - probably from one of the lost Greek historians who actually marched with Hannibal - but the story's about when they're forming line of battle on the morning of Cannae - Hannibal's greatest victory, and one of Rome's worst ever defeats. Anyhow, the Romans out-numbered the Punic army horrifically - they had a whole eight legions in the field, if I recall rightly, plus their cavalry and auxiliaries etc. And Hannibal is supposed to have been riding along the centre front of his line, which was going to come right up against all that military might, first of all his army, and wasn't even his crack troops - another part of the story, not relevant here. One of his young officers, whose name was Gisco - the Punic equivalent of Tom, Dick or Harry - said the equivalent of a doubtless very nervy, There's an awful lot of them ... To which Hannibal is supposed to have turned to him, and with a dead straight face said the equivalent of, Yeah. And you know something? Not one of them's called Gisco.
Apparently it cracked up his staff and everyone else in earshot. Mind you, it's apparently a particular sort of humour, because some people read it and just
can't see the point. But it cracked me up too, the first time I ever read it, and I've treasured that little moment out of history ever since.

(Btw, you have to tell me if you laughed.)

Nov. 26th, 2007 12:21 am (UTC)
Re: hannibal's battlefield joke.
It just cracked me up too.

Good jokes are eternally witty. -C
Nov. 27th, 2007 01:02 am (UTC)
Excellent Interview. Thorough and Fabulously Done!
Thank you for such a fun, thorough, and extensive interview.
I enjoyed it. I agree with Carole, witty jokes never go out of style.


Nicole Givens Kurtz
"The cloak-and-dagger sequences are as good as
any episode of "Alias" and certainly as well-written
as Tom Clancy or Larry Bond."
--Beverly Forehand, Round Table Reviews

SILENCED:A Cybil Lewis Novel
--a sf hybrid arrives June 2008
Nov. 27th, 2007 01:32 am (UTC)
Hannibal as Inspiration
It's not everyday you come across someone who has been inspired to write fiction by Hannibal the general and not Hannibal the cannibal. I love to hear about unique and different sources of inspiration. Thanks for the great interview, Moon.
Nov. 30th, 2007 05:02 am (UTC)
What a superb interview - some of the best discussion of creativity and process I've seen. I have all of Ms. Kelso's books and intend to follow her work always. How cool that one of the most fascinating historical personages of all time, Hannibal, is the author's inspiration!
( 6 comments — Leave a comment )

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