Inception Interviews Storm... In 1990

Note from the Editor/Author: Below is the second half of an interview originally published in Issue #3 of Inception, the print magazine produced by fans and the precursor to this web site. This issue was the October/November 1990 edition and appeared before the release of Hermetech and Aleph, which were written but not yet published. The first half the interview appeared in the Fall 2005 edition.

Tavrian Guilder in "Pleasure Giver Taken" is ambisexual rather than androgynous, in much the same way as people in Iain Banks' culture novels or several of Moorcock's novels. Sex roles and sexual politics seem to form a large element in your work.

I believe all life revolves around the power of sexuality, even within those things, and individuals, who either are sexless, devoid or sexual symbolism, or, as in the latter case, emphatically deny it themselves. It is part of my current belief system. (The author also reserves the right to change her mind on this subject without prior notice.)

Magic is another central element in the Wraeththu novels, and is reflected in the whole caste and tribal structure of the Wraeththu society. In Enchantments, Thiede is presented as a powerful, dominating presence, almost a god (and one with a very masculine viewpoint at that, despite his hermaphroditic nature, he never seems to fully come to terms with that aspect of himself), but in later books he seems to be less sure of his role, and at the end of Fulfilments, he is confronted with the fact that the Wraeththu have outgrown him. There is a rather telling exchange towards the end where he asks, "have I been such a bad father?" and Cal's reply, "no, but you haven't been a mother either." Is this a deliberate allegory?

I feel that anyone who is magically in touch with femininity will see that, in actual fact, Thiede is probably the most well-adjusted (gender-role-wise) of any of the hara. Yes, he is a dominating presence, but the way he expresses that dominance is in a very feminine way, through the far more powerful methods of manipulation and instinctual belief in his ideas. He is also quite sure of his role, which, admittedly, is rather misguided. However, his behavior was necessary and, eventually, therapeutic for the race as a whole, being the catalyst for evolutionary events. Given the size of his task, he did not, on reflection, do that badly. Growing up always hurts a bit.

Fulfilments closed with Cal's initiation into the Kamagrian, as the next stage in the progression of Wraeththu. Do you have plans to explore this in another book?

Cal was not exactly initiated into the Kamagrian, but became privy to a few of their secrets. So far (note), it isn't possible for Wraeththu to become Kamagrian. Neither is it the next evolutionary stage for the progression of Wraeththu. Exactly what role the Kamagrian have to play will hopefully be explored in a later novel, when their origins will be explained and also their function. Cynics who say that the Kamagrian were created as a compromise for those who insisted that the Wraeththu concept gave women a bad deal are probably correct.

Another side of your work comes across in your short stories. Both "Pleasure Giver Taken" and "As It Flows Into the Sea" are rather like fantasy version of Tales of the Unexpected or The Sting, with plots involving crosses and double-crosses. Are these fun to do?

Actually, as you mention short stories, we were considering having Inception print the superior ending to "As It Flows Into the Sea," which appeared in Tarot Tales last year. When I submitted that story, the editors pointed out that the ending was a bit obvious, and could I change it. The plot had been constructed using a spread of Tarot cars which I had incorporated into the story. However, the criticism was correct, so I rewrote the ending. Unfortunately, the new improved material was never used.

I find short stories much more difficult to write than full length works. It required real discipline to work within such a limited framework, and ideas that come to me always seem to turn into novels! However, I am very pleased with the story "The Time She Became," which is being published by Zenith II, edited by David Garnett. David is a marvelous editor and has helped me considerably in getting to grips with the short story form.

Enchantments was published in 1987, in which time you've had four novels released, with another couple in the wings, and about half a dozen short stories, although I understand that Monstrous Regiment was the first novel to be written, despite the last to be released. This is a pretty prolific output for someone who also has a day job. Are you very organized when it comes to writing, and how long does it take you from the initial ideas to the final form of a novel or story?

In actual fact, my output isn't as prolific as it appears. Enchantments was written in 1985 and I've written five more since then, which is just over one novel a year.

Monstrous Regiment was not written before the trilogy, although I have said that, to me, it seems like a first novel. I think I needed to leave it lying in a drawer for about six months and then rewrite parts of it, but publishing deadlines couldn't allow that. I need to distance myself fro a particular piece of work before I can look at it objectively and its fault leap out at me. Again, time is a luxury when working to deadlines, which is why it is so important to have a good editor, who will be like an extension of yourself, a substitute for your own inner critic.

The novel I am working on at the moment, Hermetech, has the advantage of being edited by Caroline Oakley at Headline, who has analyzed it so well, she has effectively provided that distance without the passage of time. Hermetech, I feel, will be my best work to date.

Using this experience of working on this novel, which is my most ambitious project, I will then embark on more Wraeththu material, which I hope will address the many questions left unanswered or glossed over in the trilogy. I do not intend to write another trilogy, but a series of books (OK, there are three of them at present) which will be unconnected another than being set in the Wraeththu world. The first, which has the working title of Inscape of the Lion, will be a study of Ariaric of the Maudrah (introduced in Fulfilments). It will take the reader right back to the roots of Wraeththu, where there are so many gaps in their history, and follow Ariaric beyond the end of Fulfilments. The second is a novel concerning Liss-am-Caar, the poisoner, who was a minor character in Fulfilments, and is basically all about poisoning. The third is a book about the Kamagrian, and from the synopsis I've done, promises to be an epic (this does not end up as a trilogy I hope).

Hermetech is being published in January 1991, followed later in the spring by Aleph. I have also compiled three other synopses for non-Wraeththu works, two of which are fantasies and one SF. It is possible I may be working on Inscape at the same time as one of these. First I have to decide which is the best one to do next. Favourite at present is Burying the Shadow. It is a complex fantasy revolving around the life of a female "mindscaper" name Raiyojini.

There seems to be a real problem at the moment over whether authors should write fantasy or not. Some sources say the fantasy boom has peaked and that a resurgence in SF will follow. would like to see a situation where there is more cross-over between genres (what the SF fans throw up their last meats in horror!) Fantasy should grow up and I believe it is doing so with authors like Jonathan Carroll coming along. We need to follow new paths, away from the ones congested with dwarves, elves, magical artifacts, sword-wielding heroes, etc.

Within fantasy, it is possible to create strange and magical worlds. What I feel is needed is more background material from fantasy authors backing up their quasi-supernatural claims. As we learn more about quantum reality, this becomes increasingly possible.

I feel both SF and fantasy are approaching crisis point. Much more original work is needed to give it life. What is also needed is a willingness from the SF community and its organs of communications to support writers' experimentation. I get sick of the way in which work is only praised if it conforms to accepted styles/forms of writing. The insistence on heavily plotted stories, the preference for fast action, etc. One ones what SF critics would have to say about William Burroughs and Thomas Pynchon if they were new writers today. Strangely enough, writers can "get away" with a lot more in mainstream fiction. I think, as our society accelerates towards the future, mainstream will eventually become virtual science fiction.