Steven Erikson's Blog, page 4

As promised, here is the deconstruction of the scene.  Because the chapter is thirty-two pages long, and because I intend to be very precise, I’m going to do only the first section.  In truth, the aftermath to the siege of Pale as written in this chapter consists of a bunch of scenes, not just one, including an extensive flashback.  The opening section, the scene that opens on the hilltop with Tattersail and Hairlock, and then Whiskeyjack, Quick Ben, Kalam and Sorry, sets up the flashback whi...

As promised, here is the deconstruction of the scene. Because the chapter is thirty-two pages long, and because I intend to be very precise, I’m going to do only the first section. In truth, the aftermath to the siege of Pale as written in this chapter consists of a bunch of scenes, not just one, including an extensive flashback. The opening section, the scene that opens on the hilltop with Tattersail and Hairlock, and then Whiskeyjack, Quick Ben, Kalam and Sorry, sets up the flashback which...

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I was sitting at my desk at Toyota Redhill, UK, when I got the news that Gardens of the Moon had found a publisher. The first thing I did was compose an email to Ian Esslemont. I gave that a lot of thought. I could imagine that, if the situation had been reversed: if he had just sold Return of the Crimson Guard, as much as I’d be delighted and happy for him, I might feel a pang or two, wondering if a door had just closed for me and my Malazan aspirations. So I wanted to address that immedia...

I wrote the first draft of Gardens of the Moon in 1991, living in poverty on Saltspring Island. It took four and a half months. It was written on a Brother WP 500. Back then, the big publishers were still accepting unsolicited manuscripts. I made a photocopy of the novel and send it by post to Del Rey Ballantine, since they were the publishers for Steven R. Donaldson. Twelve months later the manuscript returned, with a standard cover letter of rejection. I sent it off again, this time to Tor...

I am often asked to describe my writing process (or in this instance, someone queried my revision process), so here goes. Traditionally, I have worked four hours a day; these days it’s down to three or so (am I getting more efficient? Maybe). I work in public spaces, surrounded by lots of people, and prefer it that way.

When I finally send off a manuscript, it’s usually pretty clean, and here’s why. Each time I sit down to write, I begin by re-reading and editing what I wrote the last time. F...

To continue the nostalgia kick, in 1983 I was standing in a tiny, blistering hot telephone booth in Belize City, having a conversation with my mother in Winnipeg. I’d received a letter from the University of Victoria accepting me into the undergraduate Creative Writing program. Though I was in Belize to work on a dig, that acceptance decided my career track. I dropped out of a Master’s program (in archaeology) to set out becoming a writer (though I would continue working as a field archaeolog...

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-Ema...

Imagine a stream. In places it runs shallow and fast. In other places there are eddies and deep pools where the water moves slowly if at all. Here and there you’ll find boulders breaking the surface of that stream, places to cross. Some of the boulders are big and flat, making it easy to find your footing. Others are small and slippery, treacherous but manageable if one is careful. Some of these boulders are on the edge of depthless, deadly whirlpools. Others offer a quick skip across ankle-...