Pilot Episode Script Review for GRRM'S A GAME OF THRONES

The full piece can be found on Winter is Coming, but here's an excerpt:

First, a synopsis:

As already mentioned by Benioff and Weiss, we open with the prologue. Waymar, Gared and Will ranging beyond the wall when they are set up by Others.

After the prologue, the credit sequence. A raven is sent from Castle Black to King's Landing. As it flies over Westeros we see the map, the raven dips down over points of interest (Winterfell, The Eyrie, etc.) and the map fades from view to show the actual castles. Eventually, the raven flies into the Red Keep and lands on the Iron Throne. End credits.

Next the beheading scene. Plays out almost exactly like the book, down to Theon kicking the disembodied head. Then the direwolf pups are discovered.

Cut to Dany in Pentos. Viserys and her discuss the wedding and his plan to retake Westeros. Illyrio introduces Viserys and Daenerys to Drogo.

Next, we jump to King's Landing. The lifeless body of Jon Arryn on his deathbed. Cersei and Pycelle discuss his final words. "The seed is strong." Cut to a brothel. Tyrion is enjoying the company of one the "employees" there. Jaime barges in, tells him they are heading to Winterfell.Cut to Catelyn and Ned in the godswood, they talk about the King coming to Winterfell. The King and his party arrive. Robert and Ned go down to the crypts to talk. Next scene, the feast in the Great Hall. There is an exchange between Ned and Jaime that wasn't in the book. Jon and Benjen talk about the Night's Watch. Tyrion and Jon talk about bastards.

Cut to Catelyn and Ned in their bedchamber. They receive the message from Lysa. Ned decides to accept the King's offer. The next day, we see the Stark and Lannister boys at their sword play. All these scenes play out very closely to the book, with the exception of the Ned-Jaime encounter, albeit condensed quite a bit.

Cut back to Pentos. Drogo and Dany's wedding feast. We see some dancing, some raping, some killing. The gifts are given. Dany and Drogo consummate the marriage.

Back to Winterfell, Robert and Ned speak before leaving to go on a hunt. Bran climbs. Spys Jaime and Cersei in the act. "The things I do for love." Fade to black.

Sounds good to me!;-)

Ad Lib Column: Lilith Saintcrow


When I invited authors to be guest bloggers on the Hotlist, Lilith replied that she would be interested. But she didn't really know what to write about. When I suggested that she could write a piece on urban fantasy being considered lowbrow crap by some, she immediately jumped on the opportunity!

If you are not familiar with her work, I figure that you have guesses that Lilith Saintcrow writes urban fantasy novels. To learn more about the author and her books, visit http://www.lilithsaintcrow.com/. Her latest book is Hunter's Prayer (Canada, USA, Europe), sequel to Night Shift.

In any event, you know that an article titled Angry Chicks in Leather is going to be good!;-)

Enjoy!
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ANGRY CHICKS IN LEATHER
by
Lilith Saintcrow

What defines urban fantasy?

That's simple, you might say. Chicks kicking ass. Well, leather-clad chicks kicking ass. Leather-clad chicks kicking ass in an urban environment where some form of "magic" is part of the world. There. That’s about it.

But that's not all there is to it.

Urban fantasy, they tell me, is "hot" right now. Paranormal romance (vampire/werewolf/something girl meets vampire/werewolf/something guy, wackiness or danger ensues, happy ending happens) is just as hot, but the "romance" tag keeps it from being literature. The "fantasy" tag keeps urban fantasy from being classified as Serious Literature as well.

It reminds me of Tom's Glossary of Book Publishing, where LITERATURE is "Designation applied to titles judged unsaleable", and MAINSTREAM FICTION is "The pretense that there is a group of readers who can be reached through writing that is sufficiently unspecific as to exclude no one". There's just one thing lacking from this set of definitions--the fact that Literature and Mainstream Fiction are seen as highbrow.

They're genres you don't have to act ashamed of writing in. But romance or urban fantasy? You might as well start embroidering your own scarlet letter, honey.

Paranormal romance is considered lowbrow and trashy because it's female. Despite the fact that it's a multibillion-dollar business (and every dollar a woman shells out for it costs more because let's face it, we earn a lot less), it's still that pink-jacketed crap for bored housewives. Tom Clancy is supposed to be Real and Hard-Hitting, even if his "novels" are thinly-veiled technical manuals. Nora Roberts is supposedly less Real because she writes about feeeeeeelings. While we could debate the relative merits of Clancy vs. La Nora all day--and not agree, mind you, because Roberts is just plain the better writer--the fact remains that Clancy has a better shot at being considered "serious" because his is MAN'S FICTION.

Smell that testosterone, baby.

Urban fantasy is mostly women's fiction too. (Yes, I know there are significant exceptions, like Jim Butcher, Simon Green, and Charles de Lint. We'll get to that.) There's a lot of crossover between paranormal romance and urban fantasy. I like to say that UF is PR without the HEA (that's Happily Ever After, for those just joining us.) Which touches on the thing I think separates urban fantasy from other genres, the reason why it's hot, and the reason why I think it's a direct heir to Raymond Chandler and Daishell Hammett, those masters of the gritty noir thriller.

Sure, UF is full of chicks in leather pants with big guns or special powers. But so is sci-fi or, say, some of the men's suspense series (Two words: Mack Bolan!) Leather pants and firepower do not an urban fantasy book make, but a lot of industry people have trouble defining that something-extra that makes a true UF title. Like Judge Potter Stewart, we know it when we see it--but what is it?

It's ambiguity, pure and simple.

What truly defines UF, and why the genre has exploded recently, is the moral and ethical ambiguity of its protagonists.

Urban fantasy is pretty much the only genre today exploring not only the ethics of power and consent, but also serious questions of violence and gender relations from a primarily female point of view. There are significant exceptions, to be sure--I mentioned them above; UF series with male protagonists. But the really huge bump in titles has been series and books with female protagonists, examining these questions from a female perspective.

In urban fantasy, the protagonist is dealing as best they can with a world where "good" is relative. Moral and ethical quandaries lurk under the surface, there are very few clear examples of pure unstained good. The lead character's talents and abilities either set her apart in or initiate her into a world where there is very little in the way of certainty. Friends and foes change places, and antihero isn't so much the order of the day as that old noir trope, the "decent person in an indecent world".

Part of what makes this so fascinating to me is the fact that female UF protagonists are almost without exception extraordinarily tough, and that violence is acceptable for them to use. This is a huge revolution in the type of stories our culture tells itself. Violence in our culture is a man's game. Women are supposed to be weaker and more passive--the recipients of violence or protection, instead of active agents dishing it out. In paranormal romance, nonviolent heroines--or heroines who follow gender norms more closely--is more the rule, but the exceptions are popping up like mushrooms after a week of rain in my backyard.

The responses of female protagonists to violence lies at the heart of the moral and ethical ambiguity that makes for good urban fantasy. Our culture is horrified at the idea of the Dark Feminine--the woman who demands for herself the right of violence and doesn't feel bad about it.

Or, if she feels bad, doesn't let it stop her from blowing away her enemy, whether in self-defense or because she is handing out justice. Who, let us not forget, is a woman too.

We have whole genres overwhelmingly dedicated to the male "right" of violence--military hard sci-fi, suspense, Westerns, the Executioner knockoffs and pretty much every damn movie made about a cop or an army man (or group of men, a dirty dozen) going outside the chain of command or the norms of behavior because their violence serves a higher cause of justice or protection for those same norms. Urban fantasy is the first such genre I can think of that adds another layer of tension by switching the gender of the protagonist, making it truly socially groundbreaking.

The simple move of violating our expectations by placing a woman in the position to dish out the hurt introduces a lot more gray into areas normally considered black and white. Questions like When is violence acceptable? or What is justice, and can it be administered personally? become questions with no right answer, questions we must re-examine.

It's not just in books we have this ambiguity. Buffy the Vampire Slayer, Kill Bill, and Sympathy For Lady Vengeance all cover the same territory, with varying resolutions (including none) of the prime questions. These type of movies would be unthinkable a very short time ago. (Unless we're willing to press exploitative titillations that never made much money into service and call them groundbreaking as well. But I digress.)

Buffy, Beatrix Kiddo, and Lady Vengeance are all women with peculiar talents only brought out by the (culturally male) training for violence. The tension between their talents and training, their need to dish out justice (Buffy fights demons, Beatrix and Lady Vengeance are out for revenge against foes you can't help but understand the need to kill) and the sometimes-urges to be a "normal" female creates vast wellsprings of ambiguous tension.

And how could I go any further without mentioning the series that blew the UF genre wide open?

That's right. Enter Anita Blake.

Anita Blake started out as a woman who had little trouble murdering the monsters. That was her job. The reader wasn't sure if she would become the things she hunted down and dispatched, if she would kill Jean-Claude or sleep with him, or both, and got a vicarious thrill from experiencing absolute license through her. In later books, the tension drained away as Anita became more gender-normal and sexual relationships rather than noir ambiguity became the primary focus.

But those first five to seven Anita books were pure dynamite. They blew the doors and the lid right off one of the most persistent myths of our time--that women don't get angry. Women are trained from birth by massive social and cultural weight to make nice, get along, smooth things over.

It's what makes us such good and expedient victims of so much violent and domestic crime.

But an angry woman with a gun, a reason to use it, and a narrative framework that says she's justified? That kicks the victim mentality straight in the pants. Chandler and Hammett's noir masterpieces were about men trying to be decent in an indecent urban world, where the decks are stacked against you and the fumes of cigarette smoke and liquor don't quite hide poverty and sleaze. Urban fantasy borrows that smoke, sleaze, decency-in-an-indecent world, and lights its fumes with a match borrowed from chop-saki action films.

The use of magic in UF is also particularly telling. Magic in fiction is the time-honored way of slipping a hand up the skirt of convention and giving her something to smile mysteriously about. It's a way to frame deep questions without getting boring; a way to explore what-ifs. Every urban fantasy novel worth its salt has magic that costs something, whether it's cash, blood, innocence, or just plain physical energy. Magic also allows more gray spaces to be opened up, so the ambiguity can breathe.

I think urban fantasy is a blooming of ambiguity in fiction, and I'm incredibly excited to see where it goes next. I think it's awesome that we as a culture are having these sorts of conversations about gender, power, violence, expectations, victimhood, justice, sexual roles, and a whole kit and caboodle of other issues. The interplay between paranormal romance and UF is particularly fascinating to watch and analyze because of the sheer numbers of female authors who write both.

One thing's for sure, though. This isn't just about chicks in leather.
Although, you know, I never say no to a nice pair of leather pants. Or a well-maintained gun or katana.

Just call me ambiguous.

C. S. Friedman contest winners!

Our five winners will get their hands on a complimentary copy of C. S. Friedman's Feast of Souls (Canada, USA, Europe), courtesy of the nice folks at Daw Books.

And before I forget about it, I wanted to let you guys know that I will have an excerpt from Friedman's upcoming Wings of Wrath (Canada, USA, Europe) the first week of January.

The winners are:

- JL Rothbauer, from Bloomer, Wisconsin, USA

- Doug Knipe, from Guelph, Ontario, Canada

- Shari Fletcher, from Charles City, Virginia, USA (Mulluane on bookspotcentral.com)

- Aaron P.M. Tady, from Roswell, Georgia, USA

- Nathan Stinson, from Poteau, Oklahoma, USA (nstinson on asoiaf.westeros.org)

Thanks to all the participants!

Second excerpt from Margaret Weis and Tracy Hickman's BONES OF THE DRAGON


A few weeks back I posted the first excerpt from Bones of the Dragon, the first volume in Weis and Hickman's new fantasy series from Tor Books, Dragonships of Vindras. The novel will be released right after the Holidays, but here's another sample chapter for you to enjoy! For more info about this title: Canada, USA, Europe.

Enjoy!

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Though Garn wanted to carry Skylan back to the village immediately, to have his wounds tended, Skylan refused to leave the boar, fearing it would be devoured by wolves.

“Bjorn and Erdmun will not be far away,” he said, sitting up, propping himself against the tree. “Summon them with your horn.”

Skylan drank water from his waterskin and pressed the remnants of his shirt over the wound in his thigh to stop the bleeding.

He was a quick healer—another blessing from Torval. The wound burned and throbbed, but he did his best to ignore the pain. He was helped by the golden haze of triumph that acted as sweet medicine and eased his hurts. He rested his hand possessively on the boar’s hairy, bloody flank.

Garn brought his ram’s horn to his lips and gave three blasts, two long and one short, indicating that he needed help. He paced about restlessly, not so confident as Skylan that their two friends would be in the vicinity.

Bjorn and Erdmun arrived far sooner than even Skylan had expected, bounding out of the woods with their spears raised. Both skidded to a halt and stared in astonishment to see their friends covered in blood, next to the gigantic carcass.

“That was fast,” said Garn.

“We heard the crashing and roaring, and it sounded like a battle,” said Bjorn, unable to take his awed gaze from the boar, “and—”

“—we came to see what was going on,” Erdmun said.

The brothers often finished each other’s sentences.

The two moved closer, staring curiously at the boar. Bjorn was Skylan’s age, eighteen. Erdmun was sixteen. Neither had ever seen such a beast before.

“Did the two of you slay it by yourselves?” Erdmun asked.

“Skylan killed it by himself,” Garn said, always honest, always quick to give praise.

“You stabbed it with your knife,” Skylan said, heaving himself to his feet.

Garn laughed. “I think I only annoyed it.”

Skylan stood up too quickly, staggered, and nearly went over backwards. He steadied himself against the tree until the dizziness passed, and then he made an attempt to walk. If he didn’t keep moving, his leg would stiffen up. Pain tore through his injured thigh, causing his breath to come fast and sweat to bead his forehead.

“We have to haul the carcass back to camp,” he announced through gritted teeth.

“Yours or the boar’s?” Garn asked, grinning at him.

“We should rename you Joabis the Jester,” Skylan grumbled, referring to the merry God of the Feast. “I am well enough. I just need a moment to rest, that’s all.”

Movement had caused the wound to bleed again. Garn tore up what was left of his ripped shirt, and Skylan used the strips of linen to further bind the gash.

Garn and Bjorn and Erdmun went to work. They had brought lengths of stout rope with them, hoping to use the rope to haul back a buck or a couple of fat does. They tied the rope around the boar’s thick neck and front legs, and with Bjorn and Garn pulling and Erdmun pushing from behind, they dragged the carcass across the ground, leaving a bloody trail behind.

The road from the forest to the seacoast was downhill, but the carcass was heavy and clumsy to haul. The three were exhausted before they had gone very far. Skylan limped after them, his wound paining him more than he would admit. Eventually all the young men conceded defeat and halted.

Garn suggested that Erdmun run to the village to bring back help, leaving the others to guard the boar. He returned with twenty men and an equal number of small children and dogs, bringing with them a large skid used to haul boulders and stones from the hills down to the village. The men were singing a song of praise as they came, praise for Skylan.

At the sight of the young hero mantled in the blood of conquest, the men gave a hearty shout, while the children clustered around Skylan, each boy proclaiming an intention to be him someday. Skylan’s heart swelled with pride, and he quickly touched the silver axe on his neck and loudly gave his own praise and thanks to Torval, lest the god feel his role in the battle was
being slighted.

Skylan brushed off the accolades of the warriors, telling them how Garn had attacked the fearsome beast first with spear and then with only his knife. Garn described the battle in gory detail. The men listened in appreciation, nodding and clapping and, at the end, slapping Skylan on the back.

Skylan’s young stepmother, Sonja, hearing of Skylan’s wounds, had sent along a pot of healing salve, made by boiling and then straining a mixture of tansy, fish oil, the oil of pine known as pitch, wax, resin, and the plant called adder’s tongue. Skylan was grateful to her, and he removed the bloody bandages and smeared the salve over his wounds, easing the pain almost immediately. The salve would also stop the flesh from putrefying.

While Skylan was treating his wounds, the men set to work wrestling and manhandling the heavy boar carcass onto the skid and lashing it securely so that it would not slide off. This took some time, and the sun was at its zenith, High Morn, before they were finished. Once the carcass was on the skid, the men hoisted Skylan onto the boar’s back. He rode in proud triumph as they hauled the skid along the trail.

The ride was bumpy, and it jarred his wound painfully. The stench of the dead beast was nauseating, and both he and the bloody carcass were swarmed by flies. Still, Skylan would not have traded places with the Chief of Chiefs of the Vindrasi people. He was basking in his victory and leading the men in a song of praise to Torval when shrill cries and shouts brought the singing to a sudden, startled halt.

A group of Torgun women and children came running up the trail. The women carried bundles in their arms, and at the sight of their menfolk, they called out in alarm. Skylan had no idea what was happening. The excited women were all talking at once, making it difficult to understand what was wrong.

Skylan said a sharp word, and silence fell. He pointed to one of the middle-aged older women, Brynhildr, who had been a friend of his mother’s. She was calm and sensible, about thirty years old, a leader among the Torgun women. He asked her what was happening.

“Three ships sailed into the bay at High Morn. Each ship has three sails that look like this”—Brynhildr formed a triangle with her fingers—“and hulls that sit on skids. The sails are striped, red and white.”

“Ogres,” said Bjorn.

Skylan’s stomach clenched. Triumph turned to wormwood in his mouth, making him physically sick. He would not jump to conclusions, however.

“It cannot be,” he stated. “We left the ogres far behind. I must see this with my own eyes.”

He slid down off the boar’s carcass and limped over to a point where the trees thinned and he could see Djvolk Bay. Garn and several of the warriors accompanied him. Standing on the ledge, they stared down in grim silence.

Three ships, each with striped triple sails and split- hull design, rode at anchor on the glittering waters of the placid bay.

“They followed us home,” said Garn.

Skylan glared at the ships in angry bafflement. “They could not have! I made sure of that.”

But he felt a twinge of unease as he spoke. Skylan believed, as did most Vindrasi, that ogres were loutish brutes, about as smart as your average rabbit. He had watched the triple- sailed ships dwindle to specks on the horizon and, having assumed that the ogres had given up the chase, had not kept careful watch on the way home or taken precautions against being followed or kept up the swift pace that would have left the slower ships far behind.

Instead, Skylan had stopped several times along the coast to lead his men in fruitless searches for plunder. They had fires at night, anchored their ship in plain sight by day. It had never occurred to Skylan that the ogres might sail after him.

“It must be Torval’s will,” Skylan announced, thereby absolving himself of blame. Now that the initial shock had worn off, he was eager to fight this formidable foe. “Our War God is with us. He sent the boar to me as a sign, and now the best and strongest warriors of the Torgun are here in the hills instead of being trapped by the ogres in the village. We will come fresh to the
battle—”

“Fresh to what battle?” Garn asked.

“What battle?” Skylan stared at his friend and gestured to the three ships. “The battle against these sons of whores who dare—”

Garn shook his head. “I do not see a battle. I do not hear clashing steel or desperate horn calls or the beating of the war drums. I do not see our longhouses burning. Whereas I do see the smoke of a ceremonial fire rising from the Chief ’s Hall.”

Skylan scowled. Everything his friend said was true, though it made no sense. Why raid a village and not raid it?

“The ogres have come here to talk,” Garn continued, “not to plunder and kill. I find that odd, don’t you?”

Skylan did not. Such actions accorded with what he knew of ogres, who were not only stupid, but also lazy and would do anything to avoid a fight.

“Then we should attack them,” Skylan said.

“We should find out what is going on first,” Garn advised. “Remember, the parley is sacred to Torval. He would take it ill if we broke faith.”

“What he says is true,” Brynhildr agreed. “The ogres came bearing laurel leaves.”

Any enemy who came under truce to talk was protected by the gods. Skylan choked back his rage and tried to reflect calmly on what his friend was saying. Calm reflection was not easy for Skylan, who was impetuous, quick to take action and think later. He was proud of those traits in himself, considering them good qualities in a warrior. Let men such as Garn take time to observe, think over the situation. Garn thought; then he acted. Skylan acted—often recklessly—and only afterwards considered the consequences. He had sense enough to value Garn’s wisdom, however, and sometimes he even allowed himself to be guided by it.

“I will take Bjorn and three warriors to the village to see what is happening,” Skylan said. “Garn, you and the others wait here— Now, what is wrong with that idea?” he demanded, exasperated, for Garn was shaking his head.

“All the men should go,” Garn said. “Norgaard will want the warriors present in the Chief’s Hall as a show of force. We will all of us take the boar carcass back to the village. Even ogres will be impressed by the fact that you single-handedly killed a boar. And if they see us returning calmly from the hunt, they will see that we do not fear them. Whereas if we go rushing back, all in a boiling stew, they will think we are afraid—”

“Why can’t you ever just give me a straight answer?” Skylan asked, cutting his friend off impatiently. Garn might be a wise thinker, but he was also a long-winded talker.

Skylan resumed his place astride the boar’s bloody carcass. He would have liked to walk proudly in front, for the ogres to see him, but he secretly hoped he would be called upon to fight them, and he needed to conserve his strength. He ordered the women and children to take refuge in the hills, and they hastened past him, heading to the caves used by the Torgun on just such occasions.

Skylan watched them as they went, hoping to see Aylaen’s tall graceful body and thick curling mass of fiery red hair. He burned to show off his prowess before her. Aylaen was not among this group, however.

He did see Sonja, his stepmother. She did not look well. She was heavily pregnant, and the climb had been hard on her. Ashen- faced, panting, she pressed her hand against her swollen belly. Brynhildr walked with her, supporting her. After Skylan’s own mother had died in childbirth, Norgaard had taken another wife, hoping to father more sons, for Skylan was his only child. Sonja had borne Norgaard three children, but they had all been girls, and all had died in infancy.

Skylan liked his stepmother, and he spoke a word to cheer her as she passed. Sonja gave him a wan smile, and walked wearily on. Skylan gave the order to start, and the warriors heaved on the skid, boasting of the brave deeds they would do in the battle they were sure was coming.
Hauling on the ropes, they pulled and shoved the sled down the steep and winding incline that led from the forested hills to the seacoast. Their mood had changed from lighthearted pleasure to anger and determination—anger at the foe and determination to make the ogres pay for their effrontery.

The ogres lived in a realm far from the Vindrasi lands. They rarely ventured into Vindrasi territory. Few among the Torgun had fought them or knew much about them. The notion among the Vindrasi that ogres were stupid did not come from firsthand knowledge, as much as from the ogres’ appearance.

Standing between ten and thirteen feet tall, ogres were massive, heavily muscled, and big-boned. Their heads were small and round, out of proportion to their hulking bodies. With their plump cheeks, small noses, large wide-set eyes, and pursed lips, ogres resembled human babies, and therefore the Vindrasi scornfully credited them with possessing the intellectual capacity of infants.

Chasing Skylan’s dragonship all this distance required cunning, energy, intelligence, and skilled seamanship—none of which ogres possessed, or so the Vindrasi believed. Skylan concluded the ogres must have blundered onto the Torgun village by accident.

Pleased with his logic, he could now look forward to doing battle with this lumbering, dull- witted foe, and he was disappointed to find no ogre warriors roaming about the village. He had been nursing a hope for at least a small skirmish, if not an outright war. Parleys were sacred, but if an ogre insulted him . . . Torval could not blame Skylan for defending his honor.

The streets of Luda were empty, however. The village was made up of individual farms separated by fences and streets. The farm plots were of varying sizes, depending on the wealth of the landowner. Some were small, consisting only of the long house where the family lived and worked, the byre where the animals were kept, and a small plot of land for growing grain and vegetables. Others, such as the farm owned by Skylan’s father, were larger, with a long house, byre, and many outbuildings, including a smithy. Men worked for Norgaard in exchange for shares in the crops and housing for themselves and their families. At least, that was how life had been up until this past year. With crops failing and cattle dying, there was scant food to share.

Skylan frowned to see the three ogre ships anchored in the Djvolk Bay, surrounding the Venjekar—the Torgun’s most valuable treasure. Ogre warriors leaned idly over the sides, watching and waiting, probably as eager for battle as Skylan. Their commanders would be at the parley.

The men who had remained in the village while the others went to bring back the boar were now crowded inside the Chief ’s Hall, acting as witnesses to the parley. Most of the women and children had fl ed into the hills, though occasionally Skylan saw a woman’s face peeping out of a half-open door.

The men hauled the boar’s carcass through the streets to the door of the Chief ’s Hall, the largest structure in the village. The Vindrasi lived in long houses, which were simple in design.

Constructed of oak timbers, with a roof covered in thatch and straw, the long house was divided into several rooms. One room had wooden platforms on which blankets were laid for sleeping. Another was the kitchen, with a hearth for cooking and a domed oven for baking.

The central room was the main living area and housed one of the family’s most important possessions—the loom—along with wooden chests for storage and a board for playing dragonbone, a favorite game of the Vindrasi. Other than these objects, and perhaps a few low stools, there was no furniture. People sat cross- legged on the earthen floor or on blankets. If there were windows, they were fitted with heavy wooden shutters, for the house had to be snug and tight to retain warmth in the winter. The interior tended to be smoky and gloomy as a result. Oil lamps and candles provided light.

The Chief ’s Hall was similar to a long house, except that it was far larger and open, not divided into rooms. The hall was the heartbeat of the clan. All business was conducted in the hall, as were feasts and celebrations. Judgments and criminal trials were held here and the regular meetings of the family leaders and, as now, parleys with enemies.

As was customary during a parley, four ogres and four Torgun warriors stood mutual guard outside the Chief ’s Hall. Skylan got his first good look at an ogre, and he had to admit they were impressive. Skylan had known the ogres would be tall and large, but he hadn’t realized they would be quite that tall or quite that large. Skylan himself was of medium height, and his head was about level with an ogre breastbone. Skylan made up in girth what he lacked in height. His chest was broad, and his arm muscles bulged, as did the muscles of his calves and thighs. But he looked puny compared with an ogre, whose chest was half again as broad as his.

Ogres wore little in the way of clothing—leather breeches and belt. Harnesses strapped across their hairy chests held axes or swords. The weapons were enormous and looked to be of fair quality. Each ogre carried an oblong shield as large as the door to the long house. From the neck down, they looked fearful. From the neck up, the massive hunk of meat and muscle, bone and gristle was topped by a head as bald and a face as plump and smooth and guileless as that of a newborn babe.

Undoubtedly in an attempt to make their childlike faces more fearsome, the ogres had adopted the use of war paint, which had the added advantage of denoting rank. Each of these ogres, who were bodyguards for their commanders, had a broad blue stripe running from the back of the head up across the bald dome of the forehead, down the nose, across the lips, and down the chin. A broad red band ran over the nose and underneath the eyes. By contrast, the ordinary ogre foot soldier painted his head with a single brown stripe running from the back of the neck to the chin.

Skylan knew none of this, of course. He thought the paint made the ogres look silly and even more childish. He also discovered something else about ogres. They stank.

“Their stench is enough to knock a man on his ass,” he remarked, not bothering to lower his voice.

The Vindrasi were a cleanly people who bathed often, even in the winter. The Vindrasi considered their bodies a gift from Desiria, Goddess of Life, and keeping the body clean showed appreciation for her gift. Judging by the smell, ogres must have thought their bodies came from the God of the Dung Heap.

Skylan raised his hand to halt the procession. At the commanding gesture, the men hauling the skid bearing the boar’s carcass came to a stop. The ogre guards stared at the carcass and at Skylan and his bloody wounds, and their small eyes widened. As Garn had predicted, the ogres were impressed.

Skylan did not bother to try to conceal his limp as he walked boldly to confront the ogres. His wounds spoke to his courage. Ignoring the ogres, he approached the Torgun warriors who stood guard.

“I am Skylan, son of Norgaard, Chief of the Torgun,” he announced. That was for the benefit of the ogres, the warriors outside the hall having known him from infancy. “I would speak with my father, the Chief. Is he within?”

“He has been asking for you, Skylan Ivorson, and said you were to be admitted when you arrived,” the Torgun warrior replied with equal formality, though he winked at Skylan as he stood aside to allow him to pass.

Skylan nodded and, gesturing to Garn and the rest of the men to accompany him, he started to enter the Chief ’s Hall. The ogre warriors allowed Skylan to pass. They blocked the entrance of the others, planting their massive bodies in the doorway.

“You goat-fornicators, how dare you refuse to let these men enter their own hall?” Skylan demanded, taking this as a challenge.

His sword was halfway out of its sheath. The ogres were reaching for their weapons when Garn shouted loudly for everyone to calm down. He motioned for Skylan to come back to the entrance. Skylan rudely jostled one of the ogres aside and went to talk to his friend.

“Don’t argue with them,” Garn said in a low voice. “It’s better that the warriors stay out here. They stand between the ogre ships and the Chief ’s Hall.”

Skylan immediately saw the wisdom in his friend’s idea. If the parley went badly and the ogres attacked, their warriors would come running from the ships, and these men were here to stop them. Though it galled him, Skylan sheathed his sword. He did so slowly, making a show of it, rattling the sword in its sheath.

“Garn comes with me,” he said, clapping hold of his friend’s forearm and hauling him close. “He is my brother.”

The ogres seemed doubtful, but after a brief consultation—which consisted of a couple of grunts and a shrug—they allowed Garn to pass.

“The rest of you men remain here,” Skylan called out loudly, “where the air is fresh.” He sniffed, made a face, and pinched his nostrils together. “If we do not return, it is because we have died of asphyxiation.”

His men laughed loudly. Skylan looked hopefully at the ogres. If they reacted to the insult with rage and attacked him, he could not be faulted for defending himself.

The ogres looked at him blankly. Skylan thought they were too stupid to realize they had been insulted. It never occurred to him that they might be too disciplined to fall for his ruse. Skylan glanced back at his men, grinned, and rolled his eyes. His men laughed even louder and nudged each other with their elbows. Their mirth did not last long, however. Some were starting
to count the vast numbers of the enemy.

Norgaard Ivorson, Chief of the Torgun, was seated in a large ornate chair that stood at the north end of the Chief ’s Hall. He sat awkwardly, his bad leg extended straight out in front of him. He was constantly rubbing his leg, his hand moving up and down to try to ease the painful knots. The other members of the Torgun, the male heads of house hold, ranged along the walls of the long house.

There were also two women present. One sat in the only other chair that stood near Norgaard’s. Treia, the Bone Priestess of the Torgun Clan, held a position of power and honor, for she interceded with the gods on behalf of the Torgun. The other woman, standing protectively beside Treia, was her younger sister, Aylaen.

The women were dressed formally in the traditional apron-dress of the Vindrasi. Made of wool, the apron-dress was worn over a linen smock. It was held together at the shoulders with two brooches, usually of gold or silver. As mark of her office as Bone Priestess, in addition to the dress, Treia wore long robes embroidered with runes, slit open at the sleeves and loose in the front. She appeared cool and detached, which was odd, for the hall was stifling in the heat of the day and she must have been sweltering in the heavy robes.

At first, Aylaen smiled to see Garn and Skylan. But her smile vanished and her eyes widened in alarm when she saw their blood- soaked clothing. Garn winked at her reassuringly, indicating all was well. Aylaen gave a doubtful nod.

“What is she doing here?” Skylan demanded in a displeased undertone, speaking to his friend. “She should have gone into the hills with the other women!”

“Aylaen run into the hills?” Garn grinned. “Remind me to introduce the two of you, Skylan, for you have obviously never met her.”

Skylan grunted. “Such antics were funny when she was a child, but she is a grown woman now.”

“You talk like her grandfather,” Garn scoffed. “She’s only a year younger than we are.”

Skylan, having killed the boar and faced down ogres, was reveling in his manhood, and he decided that Aylaen should leave. He frowned sternly at her and made a commanding gesture toward the door.

Aylaen’s lips twitched, and he realized she would have laughed at him outright if the situation had not been so serious. As it was, she deliberately looked away, pretending she had not seen him.

Skylan was angry. Aylaen should obey him. He was, after all, her betrothed—or as near to it as made no difference. He had only to come up with the bride-price for her stepfather. He would have said something to her, but Garn gave him a warning nudge. Everyone in the long house, including the ogres, was staring at him, and Skylan realized that his dramatic entrance
had interrupted the proceedings.

“I heard we had guests, Father,” said Skylan, “and I came as soon as I could. The boar I killed is outside,” he added offhandedly, as though slaying boars were something he did every day, just for fun. He glanced at the ogres, who were seated on a bench that had been formed out of a large plank laid across several wooden trestles.

Two of the ogres were dressed much as the ogre guards outside, in leather harness and breeches. Their high rank was denoted by their face paint—white with a black stripe running from the neck to the chin, and another black stripe going over the nose and across the cheeks. The third ogre wore a tiger- skin cape draped over his shoulders. Since the other two deferred to him, Skylan marked him as their war leader. Each commander wore a greatsword—large, but not of the best quality, or so Skylan judged. Their shields, painted white with a black cross, rested against a wall.

The fourth ogre was dressed far differently. He wore a long cape made of glistening green and blue feathers and a large feathered headdress. His eyes were outlined in black. Skylan thought he looked like a raccoon, and he smothered a snicker. This ogre carried no weapons.

Norgaard listened to his son’s boast, and he sighed. Norgaard was a sad man, an embittered man. Torgun men were supposed to die in battle, not survive as cripples. He lived in constant pain from his injury and constant fear for his people. He remembered a time in his youth when the Vindrasi had been a mighty nation. They had sailed the seas in their winged dragonships and returned laden with glory and jewels.

And now, all that was gone. The Vindrasi warriors no longer fought glorious battles against worthy foes. Their enemies these days were poor harvests, fierce winters, blazing summers, angry seas, and unfavorable winds. The gods had turned against the Vindrasi, and Norgaard did not know why. He had asked Draya, the Kai Priestess, but she was evasive and would not give him a straight answer.

The Torgun never guessed their Chief was suffering. His rugged, scarred face was like chiseled granite, revealing no emotion. He rarely spoke, but when he did, he spoke to purpose. His hair was iron gray, making him look older than his forty- fi ve years. His back was straight, he was not stooped or bent, and he sat tall, with dignity, hiding his pain and his fear from his people as well as from his foes. He had likewise always hidden his pain and worry from his son, and now. Norgaard was starting to wonder if that had been wise.

Skylan loved Norgaard as a son is required by the gods to love the man who gives him life. The young man had scant respect for the elder man, however, and Norgaard knew this. If Norgaard could admit that his son had a flaw, it was that the young man took his responsibilities as a future Chief too lightly. For that, Norgaard blamed himself. He had always held his shield in front of Skylan, guarding and protecting him from the jabbing spears of trouble and misfortune. The day would come—and it might come soon—when Norgaard had to leave this world for the next. Skylan would have to lead the clan.

Norgaard had lately tried to teach Skylan the duties and responsibilities of a chief. Whenever he launched into his lecture, Skylan would suddenly recall that he had to take a piss, or if he could not escape, he would listen to his father with undisguised boredom, his gaze roving restlessly about the long house as he swatted at flies or shoved about the pieces on his game
board.

The thought often came to Norgaard that Skylan played at life as he played at the dragonbone game: He took huge risks, made bold and reckless moves. When he won, he won big. When he lost, it was disastrous.

Norgaard praised his son for killing the boar, then invited him and Garn to remain with him to hear the parley. Skylan took his place at his father’s right hand and stared boldly and defiantly at the ogres. Garn stood beside his friend, crossing his arms over his chest and regarding the ogres with interest.

Norgaard started to return to the conversation. Skylan wanted his say first, however.

“What brings you to Luda?” Skylan asked the ogres, and he added brashly, “And when are you leaving?”

The Torgun men around the wall grinned. The ogres scowled. Ogres and Vindrasi spoke the same root language, as did all the people of the world known by the Vindrasi as Ilyrion. In ancient days, the various races had been ruled by one mighty seafaring empire. In order to govern his far-flung territories, the Emperor had decreed that everyone everywhere would speak the language of the Empire.

Though each race adopted the central language and made it their own, they added bits of unique vocabulary, pronounced the words with differing accents and shades of meaning, with the result that the ogre language was much different from that of the Vindrasi. The roots being the same, however, most ogres could carry on a conversation with most humans.

Legend had it that this ancient Emperor had hoped a shared language would foster peace and understanding among the races. Sadly, it had the opposite effect. They could all understand each other’s insults.

Norgaard’s lips tightened. His expression grew grim. “Forgive my son, lords,” he said to the ogres. “He is young and hot-blooded. I would speak a word with him, if you do not mind that we confer in private.”

The ogres graciously acceded. By their grins, they guessed the young man was in for a tongue-lashing.

Skylan saw the grins and burned with shame. He had to swallow his ire, though. He was not often the recipient of his father’s anger, and he could not understand what he had done wrong. He was also mindful of Aylaen’s laughing green eyes.

Skylan walked over to his father and leaned across his father’s shoulder to speak to him. “Why do you reprimand me before these brutes?”

“Because there are one hundred and seventy ogre warriors in those ships,” said Norgaard, glowering.

The Torgun could muster perhaps seventy-five warriors—ninety, counting old men and boys. Skylan was not daunted, however. The fight with the boar had given him a taste for blood. Battle lust burned in him. He felt he could fight all 170 ogres himself.

“All men know that Torgun warriors are worth two of any ogre in battle,” Skylan said.

“I don’t know it,” said Norgaard sharply. “And I have fought ogres. Have you, boy?”

“No, Father,” Skylan said. Stung by the use of the term boy, he added sullenly, “Apparently I am not to have the chance.”

“You may well get the chance,” Norgaard said. “I do not know why the ogres have come, but I smell danger. These two ogres are commanders; the ogres term them godlords. The third is a shaman, and the fact that a shaman is present on a warship means this has something to do with their gods and is extremely important to them. They were about to tell me when you entered and insulted them. I remind you, Skylan, that the ogres are here under a flag of truce to parley. I invited them into the Chief ’s Hall, and as such, they are my guests. The parley is sacred; the guest is sacred. Torval watches.”

Norgaard leaned nearer. “One thing more—did you see the ships when you came into the village?”

“Yes, Father,” said Skylan.

“Did you happen to notice that they have our dragonship surrounded?”

Skylan stared at his father, stunned. He had seen that, of course. He had not thought of the implications. He began to consider that perhaps he had been in the wrong. Maybe he had earned his father’s rebuke—at least some portion of it.

“I am sorry, Father,” he said, subdued. “I was not thinking.”

“You never think, boy,” Norgaard said with a sigh. “You rush in, sword swinging. . . .”

“That is the way of the warrior,” Skylan said proudly.

“But it is not the way of a Chief,” said Norgaard. He gestured toward the ogres. “Apologize to our guests.”

Skylan did as he was told. After all, Torval was watching. His apology was short and gruff and grudging, but the ogres accepted it. Now that the wise old dog had put down the boisterous young pup, they were ready to carry on with business.

“You were about to tell me why the ogres honor the Torgun with a visit,” Norgaard said.

The two godlords looked with deference at their shaman and invited him to speak.

The ogre shaman rose to his feet. An imposing and outlandish figure, he was tall and thin, lacking the musculature of a warrior, and his headdress of long black glossy feathers made him appear even taller. In addition to the feathered cape, he wore a necklace of curved bones tipped in silver. His hairy arms were thick with silver bracelets. The black paint around his eyes emphasized his gaze, gave it strange intensity.

“We have come to tell the Vindrasi about a great battle that recently took place in heaven between your gods and ours,” said the shaman. His eyes glinted. He didn’t look so childlike anymore. “Our gods won this battle. Your gods lost. Your gods are dead.”

The shaman calmly resumed his seat. Feathers rustling, he looked very much like a large and gangling stork settling into its nest.

Win a copy of the limited edition of Steven Erikson's GARDENS OF THE MOON


I'm pleased to announce that I have a copy of the limited edition of Steven Erikson's fantasy debut, Gardens of the Moon, up for grabs, courtesy of the folks at Subterranean Press. Illustrated by Michael Komarck, this one could be one of the nicest limited editions Subpress has ever produced! For more info about this title, check out http://www.subterraneanpress.com/.

The rules are the same as usual. You need to send an email at reviews@(no-spam)gryphonwood.net with the header "ERIKSON." Remember to remove the "no spam" thingy.

Second, your email must contain your full mailing address (that's snail mail!), otherwise your message will be deleted.

Lastly, multiple entries will disqualify whoever sends them. And please include your screen name and the message boards that you frequent using it, if you do hang out on a particular MB.

Good luck to all the participants!

Ian Cameron Esslemont signs a 4-book deal with Transworld

Thanks to Ken for the "heads up!"

From John Jarrold's LiveJournal:

John Jarrold has concluded a four-book World rights deal for Canadian fantasy writer Ian Cameron Esslemont with Simon Taylor of Transworld Publishers in London for a strong five-figure sum in pounds sterling. Esslemont created the Malaz world with Steven Erikson, and joined his co-creator in writing novels set in the world with NIGHT OF KNIVES, followed by RETURN OF THE CRIMSON GUARD. Both of these books have been published in the UK by Transworld and are being published elsewhere in the world. All four of the new books are also set in the Malaz world.

The first book, called STONEWIELDER, is due for delivery in September 2009, and publication in 2010.

‘I’m really delighted about this deal,’ said John Jarrold. ‘Simon Taylor and Transworld have shown their long-term belief in Cam Esslemont, at a time when much of the publishing world is wringing its hands over its shorter-term problems.’

That's wonderful news for Malazan fans, for it means that Esslemont is now under contract the remaining books he and Erikson had initially envisioned in the whole Malazan sequence.:-) And we now know that Stonewielder is slated for a 2010 release date.

Meanwhile, if you haven't already done so, sink your teeth into Night of Knives (Canada, USA, Europe) and Return of the Crimson Guard (Canada, USA, Europe).

Karen Miller contest winner!

And my review copy of Karen Miller's Star Wars: Wild Space (Canada, USA, Europe) goes to:

- Stephanie Smith, from Phoenix, Arizona, USA

Many thanks to all the participants!:-)

This week's New York Times Bestsellers (December 9th)

In hardcover:

Stephen King's Just After Sunset is up two positions, ending its third week on the charts at number 4. For more info about this title: Canada, USA, Europe.

Stephenie Meyer's The Host is up seven spots, finishing the week at number 10.

Jim Butcher's Princeps' Fury debuts at number 13.

Orson Scott Card's Ender in Exile is down three positions, ending its third week on the bestseller list at number 21. For more info about this title: Canada, USA, Europe.

Laurell K. Hamilton's Swallowing Darkness is down six spots, finishing its fourth week on the NYT list at number 25.

Charlaine Harris' From Dead to Worse is up one position, ending its tenth week on the prestigious list at number 30.

In paperback:

Tobias S. Buckell's Halo: The Cole Protocol debuts at number 4. For more info about this title: Canada, USA, Europe.

Stephen King's Duma Key is down six spots, finishing its sixth week on the charts at number 12.

Kim Harrison's The Outlaw Demon Wails debuts at number 18.

Jim Butcher's Captain's Fury debuts at number 22.

J. R. R. Tolkien's The Children of Húrin maintains its position. This marks the novel's seventh week on the bestseller list.

Sherrilyn Kenyon's One Silent Night is down nineteen positions, ending its third week on the NYT list at number 29.

Charlaine Harris' six of seven Sookie Stackhouse novels rank from number 7 to number 34.

The Travel Book: A journey Through Every Country in the World


Even in light of the recent scandal, the Lonely Planet guidebooks remain my favorite travel bibles when I decide to go on a trip. Everyone who knows me is aware of this, which is why my good friend Géraldine gave me this huge coffee table book for my birthday last spring.

Even if you know the food is bad, it's actually much worse. (CUBA)

1200 images, 230 countries, One Complete Picture. Reading these words on the back cover and flipping through this tome told me that I was in for a rare treat. Lonely Planet's objective for this big project: With the traveller's experience at its heart, this book shows a slice of life in every corner of the globe, and all points in between, engaging the reader's senses in an adventure which conjures up the sights, smells, tastes, sounds and feel of our amazing world.

It's forbidden for parents to bestow non-Icelandic or foreign-sounding names
on their children.
(ICELAND)

Every single country is covered. In addition, many of the larger dependencies and a number of smaller destinations were included. I wholeheartedly agree that this one of the definitive pictorial guides to travel. The world is a book and those who do not travel read only a page, or so claimed St. Augustine. Well, by checking out this book you'll read a few more!
Kyz-kumay (kiss-the-girl) involves a man who furiously chases a woman on horseback in an attempt to kiss her. The woman gets the faster horse and a head start and if she wins gets to chase and whip her shamed suitor. This allegedly began as a formalised alternative to abduction, the traditional nomadic way to take a bride. (KYRGYZSTAN)


Each destination is covered by a two-page spread. The text is broken down into a number of categories: Best Time to Visit, Essential Experiences, Getting under the Skin (which covers what to read, watch, eat, and drink), In a Word, Trademarks, and Surprises. Even though you may believe you know a lot about one country or another, you'll learn quite a few facts as well as a quirky thing or two about each destination.

Mongolians sing to their animals: there are lullabies to coax sheep to
suckle their lambs, croons to control a goat, to milk a cow or imitate a camel's cry -- there are far more Mongolian songs about the love of a good horse than the love of a good woman. (MONGOLIA)

The icing on the cake would have to be the 1200 photos found throughout the tome, all of them of a quality you would expect in an issue of National Geographic. Added to the informative and entertaining text, these gorgeous images make The Travel Book a "must read!"


Under the Treaty of Breda (1667), the Dutch retained Suriname and their colonies on the Guyanese coast in exchange for a tiny island now called Manhattan. (SURINAME)

An inspirational read, this tome takes you on a stunning journey across the globe, one that globetrotters and would-be travelers will cherish.


The world's largest country encompasses all the pleasure and pain of the human condition, with the last decade's social and economic revolutions giving a dynamic -- and disastrous -- spin to Russian lives. . . It's precisely the Russian people's endearing combination of gloom and high spirits, rudeness and warmth, secrecy and openness that makes journeying through their country such a different experience. (RUSSIAN FEDERATION)

For my money, The Travel Book could well be the very best travel-related tome I have ever come across. It would make the perfect Christmas present for any avid adventurer, backpacker, or armchair travelers!


Some local buses don't break down; large bottoms are considered beautiful. (TANZANIA)

As you can see, a number of quotes from various entries have been inserted in this review. . .


By the end of the Vietnam War, Laos had the dubious distinction of being the most bombed country in the history of warfare. (LAOS)

The final verdict: 10/10


It is actually possible to fill an entire day doing absolutely nothing. (BELIZE)

For more info about this title: Canada, USA, Europe

Interview with George R. R. Martin and all the Wild Cards contributors from BUSTED FLUSH



Hi guys!

Well, we decided to give it another go this year! Along with my fellow partners in crime, Elio García and Iain Cupples (Ran and Mormont on asoiaf.westeros.org), we tried to come up with a set of questions which were not covered in last year's interview. What we came up with is this 10-way mega Wild Cards Q&A.

With Christmas just around the corner, if you are a fan of comic books and/or tv shows like Heroes, you might want to check out both Inside Straight (Canada, USA, Europe) and Busted Flush (Canada, USA, Europe).

Enjoy!
--------------

GRRM: George R. R. Martin
MELINDA: Melinda M. Snodgrass
CARRIE: Carrie Vaughn
CAROLINE: Caroline Spector
IAN: Ian Tregillis
SLF: S. L. Farrell
JOHN: John Jos. Miller
VIC: Victor Milán
KEVIN: Kevin Andrew Murphy
BUD: Walton Simons

- Superheroes appear to be more popular now than they have ever been, which should make this latest Wild Cards series hip and accessible to fans inside and outside of the genre. Without giving anything away, how would you describe both INSIDE STRAIGHT and BUSTED FLUSH?

GRRM: Must reading.

VIC: Awesome awesomeness. From Awesometown. Okay, okay. They're character-driven contemporary thrillers. They happen to involve superheroes. And as always with Wild Cards - the main purpose from the very start - we as writers examine what the consequences would be, to real people and the real world, if a certain minority were granted godlike powers. Like all good stories they're about choices; like all good SF, they're about ramifications: change this, what are the possible consequences? And also: what I said before. G4TV should put us on "Attack of the Show." Seriously.

SLF: INSIDE STRAIGHT and BUSTED FLUSH, like the rest of the WILD CARDS series, attempt to explore the 'reality' of what this world might be like if people with extraordinary abilities actually existed. Our 'heroes' (generally) don't wear their underwear outside their pants and don't use secret identities; they just are. And as in real life, in the WILD CARDS universe, people -- including superheroes -- get old and tired, or die, or otherwise drop out of sight. INSIDE STRAIGHT and BUSTED FLUSH feature the 'next generation' of aces in this world, and how they respond to the changed world their predecessors have left them

KEVIN: INSIDE STRAIGHT? The new generation of Wild Cards tries to figure out what it means to be a hero in the current day–and some of them even get it right. BUSTED FLUSH? The new generation continues, finding Wild Cards even newer to the game, as well as veteran aces. Some win, some lose, and some are waiting for the next hand to be dealt. But the stakes are the fate of the world.

CARRIE: These books are about our world, but we've had superheroes for sixty years. In Inside Straight, a new reality TV show "American Hero" is going to pick the next great superhero. Then some of the contestants decide to make a real difference in the world. In Busted Flush, they discover they've maybe bitten off more than they can chew...

IAN: INSIDE STRAIGHT asks the question, "Hey, kid. Wanna be a hero?" BUSTED FLUSH asks the question, "Hey, kid. How's that hero thing working out for ya? Not quite what it looks like on the brochure, is it?" And then the finale of the Committee Triad, SUICIDE KINGS, asks...

JOHN: Wild Cards remains among the best in the superheroes in prose sub-genre: entertaining, unexpected, and from enough divergent points of authorial view that's there's something in it for everyone.

- What do you think makes superheroes of interest to readers?

GRRM: Well, it's not the spandex underwear, I'm pretty sure...

CAROLINE: It’s wish fulfillment at its core. How many nerdy, geeky, or even regular folk want to be exceptional? Almost all superhero origin stories are about transformation from ordinary to extraordinary, whether it’s through the agency of the character themselves (Batman), through an accident (Spiderman, Daredevil), or “outside” forces (X-men, Fantastic Four). The transformative myth is consistent across many cultures. Superheroes are appealing to our modern culture because they are a contemporary take on epic and mythological themes.

CARRIE: At their best, they're us. They're our avatars, they're a way we can dream about having power, dream about saving the world. Most of us are pretty powerless in our world, at least on a grand scale. But we can dream.

IAN: Well, I can't speak for other people, but one of the things I enjoy most about superhero stories is the guilty pleasure of wish fulfillment. What would it be like to fly, or to be super strong, or super fast, or to go anywhere in an instant? What if I were somebody else? What if my life were exciting and glamorous? Everybody daydreams. To me, superhero stories can be a particularly enjoyable form of daydreaming. Which isn't to say that superhero tales can't be dark, or that they can't tackle meaty issues, too...

VIC: Wish fulfillment is the basis for all enduring stories. *I'd* love to be able to fly and shoot fire out of my palms. I frequently fantasize about this. Don't you? (Would that solve all my problems? Sadly, no. Therein lie our stories. It'd still be fun, though.)

BUD: The extraordinary should always be interesting. If it's not, you're doing something wrong.

JOHN: Superheroes are accessible fantasies set in a world that everyone is familiar with. Almost everyone has dreamed of having powers of some sort, though, admittedly, Wild Cards sometimes takes these superpowers in unexpected directions.

KEVIN: Superheroes are a return to a very old form of storytelling. Cuchullain, who could Hulk-out when in his battle rage. Balder who was invulnerable to everything except mistletoe long before anyone ever heard of Kryptonite. Böðvarr Bjarki and his joker brothers Thorir Houndsfoot and the half-elk Elgefrothi, who even have a cool origin story with the murder of their father and a curse on their mother. Of course, with superheroes the origin is generally science instead of magic, but when you come down to it, being infected by an alien virus, being descended from the Melusine,or having a sorceress turn your dad into a bear and then feeding his heart to your mom? It’s all handwavium to get around the fact that this one character has this cool power that other people don’t.

SLF: I suspect many of us have this secret desire to be 'special' -- to find that we'd been 'gifted' with some ability that makes us stand out from the crowd. That's a standard daydream fantasy, after all -- but unfortunately that's generally not the case. Most of us aren't going to be the superstar sports hero, or save a sleeping family from a fire, or save our platoon even though we're grievously wounded ourselves. Most of us will life far quieter and normal lives... but through the comics, the graphic novels, series like Wild Cards, and movies and tv shows, we at least get to experience some of that feeling vicariously. We can pretend for a few fleeting moments that we're that superhero, who was once normal like us but was somehow Changed.

MELINDA: I think it depends on if you're talking about readers who want to imagine and fantasize about having all these neat powers, or whether you are the type of person who realizes that the "powers" are no more meaningful then hair color, whether you can throw a football or carry a tune. Life deals out problems that have to be faced and overcome, or faced and endured. It doesn't matter if you can fly, or shoot fire from your hands, or read minds etc. etc. It's about how you live your life, how you care for others. I confess I'm more interested in small personal stories where the powers may or may not apply. I think superhero adventures, particularly in Hollywood, lose sight of the necessity to tell human stories that are relatable. It all becomes about the next big action sequence instead of about the characters.

- How well-received as this new Wild Cards novel/series been thus far? What do long-time fans think of this new story arc?

VIC: I think they're generally receptive. It's Wild Cards. There are new faces, on either side of the page, as it were. There are also a lot of the original WC Mafia - and one or two familiar faces. It remains a labor of love: we like the money, sure; we love the conceit and the world and the possibilities. And it is a world. Like any such it offers an infinity of stories.So I think most of our faithful fans will find plenty of crunchy Wild Cards goodness to enjoy here.

JOHN: Some miss some of the old characters, but most, I believe, are still on board.

KEVIN: From what I’ve seen of the reviews so far, quite well. It’s a good time for superheroes and a good time for the new trilogy to come out. Though of course it helps to be working with such a great team of writers. Most seem to like it a lot. There’s some disappointment that not all of the great characters from the past can’t come back, but then again, you have to make room for the new characters, and some of the old characters are dead. Not that this stops my character, Cameo. Though it would get a bit confusing if she were to channel more than one dead ace at a time.

MELINDA: It's strange, some old time fans seem to think the powers of our new heroes aren't as cool as the old characters. In truth I think our latest crop of heroes are more interesting both in their backgrounds and their powers.

CAROLINE: I’m not as plugged into the Wild Cards fan scene as some of the other authors. The only place I regularly check is the Captain Comics message board. And there does seem to be a lot of enthusiasm for the new books there.

SLF: From what I've heard, most long-time fans are pleased with this continuation of the series (though a few grumble occasionally about old favorites who are no longer around -- but hey, that's life! Check out the WILDS CARDS board at Captaincomics.com (http://www.captaincomics.us/forums/index.php?board=35.0) and you'll see how fans are reacting, for instance. But... the new novels aren't just about pleasing the old fans; we want, we need to bring new readers into the fold. Just as this new series is starring new aces and jokers, just as George has brought several new (and younger) writers into the mix, we're looking to augment those long-term fans with a lot of new ones. We're excited about this new beginning, and we hope thousands of readers will share that same excitement!

CARRIE: I've gotten a lot of good feedback. The long-time fans are happy to be back in this world (though they might wish for more appearances from the classic characters).

GRRM: The original Wild Cards series ran a long time -- twelve books from Bantam, three from Baen, then two more from iBooks after a seven-year hiatus. We had some hardcore readers who stuck with us all the way, and those, I think, are thrilled to have the series back, although some do miss the original cast of characters. Like many long-running series, however, we lost a certain percentage of readers along the road, for one reason or another. We're recapturing some of those 'prodigal readers' now, I think, and that's exciting.

- This triad was meant to be a new generation of aces for a new generation of readers. Have you perceived an influx of new interest from fans at signings and conventions?

JOHN: Somewhat, yes, although many of the old stalwarts are still with us.

SLF: I haven't been to too many conventions since the release of INSIDE STRAIGHT, but the WILD CARD panel at Worldcon in Denver was very well-attended and seemed to have a good mix of old fans and new ones in the audience. If only that Stephen Leigh character hadn't tried to sneak onto the panel...

VIC: On the basis of limited sample size, there seems to be. I can't honestly address how many new fans we're getting overall. Myriad, I hope.

IAN: Tor threw a launch party/mass signing for INSIDE STRAIGHT down in Albuquerque last February, and I have to admit I was pretty taken aback by the attendance. Putting people like George Martin, Carrie Vaughn, Daniel Abraham, and Melinda Snodgrass at a table together is a recipe for long lines. Which, for a newcomer like me, was a fun introduction to the madness. I've had that same sense of getting thrown into the deep end when we do Wild Cards panels at conventions. I've sat on two or three such panels now, and it's still a little daunting. Back when INSIDE STRAIGHT first hit the shelves, I got a funny email from a friend of mine, a guy with whom I'd shared an office (and a thesis advisor) during graduate school. We'd both moved to different parts of the country, but were keeping in touch via sporadic email contact. But I hadn't told him about how I'd been shanghaied by George and company into this Wild Cards thing. Sean wasn't familiar with Wild Cards, but after reading some reviews of INSIDE STRAIGHT he decided it was the kind of thing he'd enjoy. So he went down to the store to buy the book, started flipping through it, and probably did a triple-take when he saw my name inside. So that's at least one new person who came to Wild Cards via INSIDE STRAIGHT...

KEVIN: I was at this last Comicon, so in a word: Yes. Of course only INSIDE STRAIGHT was out at that time, so it was Melinda and Caroline signing and representing Wild Cards at the panel, but I plan to be at the next one and several others.

GRRM: Judging by the ages of the people I see at our panels, I think we're attracting quite a few newcomers. Precisely how many remains to be seen, but of course we're hoping the series will build by word of mouth. Also, I'm seeing a steady escalation in the prices of the old out-of-print books on ebay and ABE, which suggests to me that we have new readers who have enjoyed INSIDE STRAIGHT and decided to go back and hunt up the older volumes, thereby driving up the prices. (We do hope to bring the original series back into print as some point, by the way, but of course it all depends on sales).

- What was the spark that generated the idea to come up with this new trilogy? Can you tell us a bit more of the genesis of this latest Wild Cards series, and how it went from an idea to a published work?

MELINDA: It was born out of the idea of a new group of heroes who weren't so tied to the past. When we brought in the new writers they really sparked the discussion. Daniel Abraham with his irreverent question of who the "f*** was Jetboy?", Carrie Vaughn with her wonderful idea about American Hero, Ian Tregillis pointing out that the old Cold War fears about the "bomb" had no relevance for this younger generation who hadn't grown up in the "duck and cover" era.

GRRM: The Committee idea goes way back. Originally it was supposed to be the next triad after the Card Sharks, following hard on the heels of BLACK TRUMP, but Jim Baen decided not to continue with the series, and that was that for seven long years. When Byron Preiss and iBooks finally came forth with a proposal to revive the series, he did not want to commit to a full triad, so instead we tested the waters with two stand-alone titles, DEUCES DOWN and John Miller's novel DEATH DRAWS FIVE. After which iBooks went bankrupt. Once that mess was straightened up, we found Tor, and an editor and publisher who had always liked the series, and I wanted to go back to the heavily interwoven triads that had characterized Wild Cards at its height, so I dusted off the Committee idea and made it the basis of our proposal. Of course, this Committee was very different from the one we might have had if we had written these books right after BLACK TRUMP, as planned. For starts, that was before the reality television craze, so there would have been no AMERICAN HERO show. It was Carrie Vaughn who brought that to the party, and Daniel who pitched the whole "who the fuck was Jetboy?" riff.

- Victor Milan's, one of the original Wild Cards writers, is listed as contributing no less than three stories to BUSTED FLUSH. What can be said in particular concerning his work on the new book?

MELINDA: I think that's a bit of a misnomer. BUSTED FLUSH is almost a full mosaic novel. Many of the stories ended up being broken up into three and four sections so they would weave together more elegantly. Vic gave each section a very evocative title because they were all part of an arc about Tom Weathers.

GRRM: Vic doesn't have three stories in BUSTED FLUSH. It's one story in three parts, but Vic preferred to give each section its own title rather than doing "Part 1, Part 2, etc." Since the very beginnning of the series, all of his Cap'n Trips stories are titled after famous 60s rock songs, and this is a continuation of that motif.

- By the same token, sorry to put you guys in the hot seat, but what would you say each contributor to BUSTED FLUSH brings to the dance. What would be their individial strength, and what makes them so important in the "overall" story arc?

MELINDA: What the earlier Wild Card books lacked were strong, interesting women. I think Carrie Vaughn has done a terrific job addressing that lack with Ana and Kate. Ian Tregillis is one of the most moving and emotional writers I've every worked with, S.L. Farrel gives us the power of the idealistic man determined to make a difference. Vic Milan talks about the warping of idealism. John Miller gave us a poignant story about aging and loneliness. Walton Simons gave us the boy who grew up too fast and has to learn to forgive himself. In many ways this is a book about children, and we continue the theme into the third book SUICIDE KINGS.

- As one of the original contributors, what would you say has changed the most since you began working on the Wild Cards novels? How much fun is it to return to a universe which has enjoyed such amazing longevity?

VIC: To answer in reverse order, 'cause the second question's easier: immense fun! I think that *is* the secret to the universe's longevity: first and foremost, we have fun with it. We OCs still do; and it offers fun enough to attract hot new writers like Dan'l and Carrie.

As for what's changed? Well, the world has turned. Earlier characters have left the stage and new ones stepped onto it. Most significantly? There's now the Net as we know it. The original Wild Cards impulse petered out, ironically, right as the whole online-communication phenomenon was really starting to spread. Only a few of us had email capability, for instance. So all of the collaborative parts - that would be, all of them - involved writers in a lot of places contriving to pass around these massive piles of paper, through mail, package delivery, or personally. And even if most of us lived in New Mexico, as most WC writers still do, it's not as if we were all next-door neighbors. That, you may well imagine, has changed. (The hand-delivered sheafs o' manuscript part; we still don't all live next to each other.)

And what I have to say to that is: thank you God and Tim Berners-Lee and whoever else had any role at all in making it possible to dispense with those damned unwieldy masses of paper. Thank you, thank you, thank you.

- Was there a difference between working on INSIDE STRAIGHT and BUSTED FLUSH writing-wise?

JOHN: Not really.

IAN: Oh, you betcha, as Rustbelt would say. From my perspective, downin the trenches, the two novels were utterly different beasts. It was a strange situation-- I wrote most of my contributions for BUSTEDFLUSH, the second novel of the new triad, almost a year before I wrote my contribution to INSIDE STRAIGHT, the first novel. Bud Simons and I proposed the storyline that eventually became the first half of "Political Science" (the story we co-wrote for BUSTED FLUSH) for INSIDE STRAIGHT. George and Melinda liked our idea, but as the first pass of the overall plot for INSIDE STRAIGHT came together, it became clear that our storyline just wouldn't fit into that first novel of the new triad. George accepted our proposal, but he moved the storyline into BUSTED FLUSH. So Bud and I went to work on a big chunk of BUSTED FLUSH while other folks were writing their pieces of INSIDE STRAIGHT. Once we had the first half of "Political Science" finished, we put it aside for a year because we had to wait for the rest of BUSTED FLUSH to come together before we knew what the second half of the story would be. And that took a long time (or it sure felt like it did, anyway) because in some ways BUSTED FLUSH turned out to be a more complex book than INSIDE STRAIGHT. But, a few months later, as INSIDE STRAIGHT was in the final stages of coming together, it became clear there were a couple of gaps in the book that would best be serviced by additional stories. John Miller and I both received calls from George a few weeks before it was time to turn the finished manuscript over to our editor at Tor. I wrote "The Tin Man's Lament" for INSIDE STRAIGHT over a Thanksgiving weekend, and long after almost everybody else had already written their contributions to the book. The good news was that because most of the book was already in place, we knew exactly how the story had to begin and end.

SLF: Not particularly for me. My story was pretty much one continuous thread. I had to work closely with Carrie and Ian since I was heavily using Curveball and (especially) Rusty in my portion of the book, but I had the same situation in INSIDE STRAIGHT. Carrie and Ian vetted all the dialog and reactions of their characters (and I did the same with the other, more minor characters in the story with their creators). I worked --- as we all did -- closely with George to make sure that all the beats occurred where they were supposed to occur and that everything meshed with the storylines of the other writers. There are essentially three separate plots weaving through BUSTED FLUSH, though; for DB, I only had to concern myself with what was happening in the Middle East.

CAROLINE: The biggest difference was that the stories were much more tightly woven together in BUSTED FLUSH than in INSIDE STRAIGHT. My story, “Could, Woulda, Shoulda” was divided up into three parts and first part was the first non-interstitial story in the book and the last two sections come very late in the book. It was tricky to write.

CARRIE: Busted Flush is the middle volume of a trilogy, and I had a feeling of looking in two directions at once while writing it. Inside Straight was setting things up--we had almost a clean slate and had a lot of directions we could go. With Busted Flush, I had a sense of keeping in mind both what we had done, what we had set up in the first book, and where we were going, what direction we wanted to point toward in order to set up Suicide Kings. It felt more complicated because of that, I think.

- Coming into volume two of a series in which the first volume was paced quite briskly, is it harder to "settle down" and write your own piece without losing some of the edge that made INSIDE STRAIGHT so enjoyable?

KEVIN: Wild Cards has always had this mix, and we’d all been in on the planning foreach volume and the pitching sessions, so it really wasn’t hard to get into gear. I’d already been reading and approving everyone’s scenes for Rosa Loteria for INSIDE STRAIGHT, and then we had the great fun of doing the AMERICAN HERO website. I got to write Rosa and the Maharajah’s confessionals, so really, once we started BUSTED FLUSH, I was champing at the bit to write Cameo’s story. I know she wasn’t in the first book of the new series, but without spoiling anything, I will say that her story springs directly out of it.

BUD: Actually, Ian and I started work on "Political Science" (the first half of it, anyway) about the same time the other writers were working on their stories for INSIDE STRAIGHT, so that wasn't an issue.

VIC: It's always challenging writing in the "braided novel" framework. For me at least keeping it edgy isn't much of a problem (especially given my main character.) Keeping focus and telling my story as well as furthering the overall story's the tricky part.

- Between Jonathan's blogging, the 'American Hero' setup, and the news reporting of the Egyptian troubles the commentary on the modern media society came thick and fast in INSIDE STRAIGHT. Will this be a theme for the whole three-book arc ? What are your thoughts on how the media shapes society today?

JOHN: Not pleasant.

VIC: Media have always shaped society. The Spanish shock troops of the European conquest of the New World were, top to bottom, massively influenced by what are today usually called "romance" novels, but which most of us SF/F geeks would consider heroic fantasy (and fairly cheesy heroic fantasy at that) such as AMADIS THE GAUL. The media shape society more, and more quickly, today by reason of their increased pervasiveness and speed. That's not intrinsically a new thing, just more efficient. That said, the speed and pervasiveness of modern media, specifically the Internet, are of such an order that I think we will see some genuinely new things. What those might be are easy to predict, if you don't mind the near-certainty of being wrong....

BUD: From my perspective, the media is more reactive than proactive. Cultural changes or phenomena happen fast in the internet age, and by the time major media outlets start paying attention to them they're already assimilated into our culture. Particularly where young people are involved.

SLF: There's no doubt the media has incredible influence. I don't know that this is so much of a 'theme' within WILD CARDS, though, as much as it's just that WILD CARDS reflects society as it is -- in essence, we hold up our peculiarly warped mirror to the world and write down what we see.

CAROLINE: For better or worse, pop culture is culture in the United States now. There’s a line from a song by The Smiths, “Everyone’s clever nowadays.” I feel that way about the kids growing up in an Internet/Reality TV/iPhone world. They’re all so plugged in, so hip, so interconnected, so damned clever about everything media that they really don’t see how it’s affecting them. People will reveal the most astonishing things to a TV camera or online. They’re all for online anonymity, but then they’ll upload naked pictures of themselves to their cell phone and send it to everyone they know. The intersection between public and private for many people nowadays is completely blurred. Celebrity is all nowadays and it doesn’t matter what you did to get it.

CARRIE: Wild Cards has always had an eye on the real world and the impact the real world has on the stories. I think it would be hard to tell a story involving these issues and not deal with the media. A lot's been said about the impact of cable and 24 hour news channels, and how they've had to almost generate news stories in order to keep viewer interest--endless footage, endless angles, endless talking heads. We're just saturated with this stuff now. Does anyone else remember the TV series Max Headroom? We're almost living in that world. I'm not sure the entire current arc will deal with the media. I think what comes out more, and what's of more interest, is the negotiation between the structured narrative of the media and the messiness of the reality of these situations.

IAN: American Hero and Jonathan Hive's blog together gave us the perfect tool for holding a mirror up to modern media society. Superheroes in a world of sound bites. The danger of living in a media-driven world is the way it can promote superficiality. By emphasizing style and appearance over everything else, it discourages a more thoughtful and measured approach to the world. That shift from one mode of thinking to another is a major point of INSIDE STRAIGHT. But I wouldn't say that commentary on media society is the main theme of the three-book arc. Instead, I'd say the overarching theme is, "Who are you, and what does that mean?" Media society was our tool for exploring that theme in the first book. Daniel Abraham brought that home with the blog interstitials he wrote for INSIDE STRAIGHT; Melinda Snodgrass explores the same theme from a different yet very powerful direction with the interstitials she wrote for BUSTED FLUSH.

KEVIN: Media has always shaped society and society has always shaped media, but it’s really hard to have a story relevant to the present day without some form of commentary or taking modern technology and society into account. Jonathan Hive’s a great character, and I had great fun getting to borrow him for my BUSTED FLUSH story (and kudos to Daniel for creating him), but for as much as he’s a blogger and a child of the modern age, I see him as more of a classic young reporter. If it were seventy years earlier, he’d be rushing to a phone booth and barking out a story to a frazzled editor rather than frantically texting with his Blackberry, but really, the more things change, the more they stay the same. Instead of running around trying to find a phone booth, now it’s running around trying to find a spot with enough bars for your phone or a café with wifi. Different variables, but the same story.

- The other theme of INSIDE STRAIGHT appeared to be the old classic of how we define true heroism. But how useful do you think examples of 'heroism' can be? And who were/are your heroes?

KEVIN: I think the word “heroism” is often overused, or used badly. It’s often confused with lesser bravery or patriotism or even idiocy, and after the last election cycle and the current wars, I’ll admit I’m tired of hearing it, or I should say, I’m tired of hearing it misapplied. If you go back to the oldest stories, the best example I can think of for true heroism is Sheherazade. You have a daughter of privilege who finds that, unlike all the other young women in the land, her name has been kept out of the lottery to wed the mad caliph because her father, the wazir, has rigged it. Rather than see one more anonymous woman die in her place, Sheherazade rigs it so that her name is on all the lots and she’s the one chosen as the crazy caliph’s bride du jour. That’s heroism. That she spins out the stories night after night and manages to stay her execution is a matter of bravery, cleverness, and luck, but the heroism is something she does right at the start of the tale, and it’s why you’re rooting for her more than you would some other woman who hadn’t rigged the fateful lottery. I should probably have some living heroes, but I’m afraid the most I can say is that there are some people whose individual actions or writings I admire, but they doubtless have some faults or flaws if I bothered to look hard enough.

SLF: I don't believe in saints. I love the fact that when you look closely at the lives and character of the 'heroes' in this world, they are flawed people all. That gives me hope. If someone else can overcome their faults and their foibles, if they can summon up thought a dark and wounded soul the courage and steel to do something heroic, then maybe, maybe, so can I. Maybe so can any of us.

CARRIE: We have so many different examples of heroism right in front of us every day. (I'm an optimist, can you tell?) It helps to define heroism broadly--from firefighters and cops, to the single mom working to put her kid through college, to the Mother Theresas of the world. Anytime anyone does something above and beyond to better the circumstances of other people, in whatever form. People who work against the status quo to make the world better. It sounds sappy, but my parents are a couple of my heroes. My Dad's a Vietnam vet, my Mom spent most of the first two years of their marriage and the birth of her first kid (me) alone and trying to make do while he was overseas. Statistically, the odds were against them staying together. But they've been married 37 years and are still going strong. And they wholeheartedly supported their two artistic kids while everyone around them thought they were crazy for doing so. They're very smug now about the fact that both their kids are making a living with their art. (My brother's a theatrical set designer and technical director at a college. He's one of my heroes too.)

JOHN: Such examples can't hurt and might serve to inspire. I've never had a lot of personal heroes, though my sympathies often lie with the everyday man and woman as they struggle through life. I have been inspired by various artists along the way, from Roger Zelazny to John Stewart to Tom Seaver to always do the best I can with what I have in whatever field of endeavor I'm working in.

BUD: There are countless acts of heroism that occur across the globe every day, most of which go unmentioned or unnoticed. I think heroism is inspirational to the people affected, or who observed it. I don't really have any heroes, per se, but I'm grateful to Forrest J. Ackerman because he changed my life in a really positive way.

CAROLINE: There are examples of heroism all around us. It’s just that the people being heroic aren’t wearing spandex and capes. People who take the right, but difficult stands, have been my personal favorites in the heroism department. Margaret Sanger, for example, is a hero of mine.

VIC: This question always makes me go blank as to specifics. Heretics; rebels; rescuers of those in peril. Never politicians, "leaders," nor those whose job it is to intimidate and kill people to keep the former in power and wealth.

GRRM: With great power comes great responsibility, Stan Lee once wrote. Spidey's credo articulates the basic premise of every superhero universe, including ours. But Lord Acton wrote that power corrupts, and absolute power corrupts absolutely. The tension between those two truths is where the drama comes in. My own heroes are the dreamers, those men and women who tried to make the world a better place than when they found it, whether in small ways or great ones. Some succeeded, some failed, most had mixed results... but it is the effort that's heroic, as I see it. Win or lose, I admire those who fight the good fight.

- The events covered in this new trilogy mirror current affairs that have all been in the news recently. Problems in the Middle East, hurricane Katrina, oil shortage and the rise of gaz prices, etc; Was it your intention to have these underlying themes be a part of the new series all along?

JOHN: Pretty much.

SLF: Again, yes in the sense that we want the WILD CARDS world to be recognizably 'ours' to a large degree. There are certainly changes in the WC universe, but it's inhabited by the same people, with the same issues and agendas and problems.

CARRIE: Yes, I believe so. During early brainstorming sessions it was natural to toss around ideas about what these events would look like in the Wild Cards universe. It's also interesting--we don't have to imagine what devastating natural disasters would look like, when we have Katrina and the 2004 tsunami to look at. (The idea of how our characters might even prevent something like the tsunami came up.)

KEVIN: Yes, they were all planned, though authors do have a habit of speaking prophecy. I wrote part of the New Orleans hurricane sequence after Katrina but before anyone had ever heard of Ike, and there were some eerie similarities.

MELINDA: We've always tried to have Wild Cards reflect the world around us. I wear many hats, in addition to being a writer I also manage a small natural gas and oil company. I could see the up tick in oil prices coming, and it's also the only leverage the Middle East had in our universe. It seemed the logical move when you're battling the west so I suggested the use of oil as an economic weapon.

IAN: Back when the Committee Triad was just a glimmer in George's eye, seven or eight of us got together at a ranch in northern New Mexico for two days of brainstorming. (We refer to this as the infamous"Bear Paw" meeting.) INSIDE STRAIGHT and BUSTED FLUSH in their final forms are very different from what we originally discussed, but making the books topical had always been part of the plan. In fact -- on the topic of natural disasters -- one of the original storyline ideas had drawn inspiration from the devastating Indian Ocean tsunami rather than Hurricane Katrina.

CAROLINE: My interest in the first book was the intersection between celebrity and privacy. “Metagames” allowed me to set up Bubbles’ struggle with the nature of fame, the responsibility of power, and the desire to do right in the world. I’ve had themes I wanted to explore in both of my stories. George usually has an overarching idea of what he wants the books to be about, and I just try to fit my stuff in with that.

VIC: Yes. On a world-building basis, I admit to having reservations; I think that the irruption of the Wild Cards virus in 1946* would, 50+ years on, have left the world looking a great deal different than ours. Far more than what we portray. That said, I see the practical marketing value inherent in keeping the WC generally similar to the one we live in. Also I got outvoted.

*Full disclosure: I had to look up the damn year on Wikipedia. Couldn't remember if it was that or '47.

GRRM: We've done all sorts of stories during the long run of the Wild Cards series. We've had our supervillains, some of them twice as nasty as anyone you'll encounter in a funny book (the Astronomer would eat the Joker for breakfast, and Demise would kill him just for wearing that hideous purple suit). As early as our second book, we had our aces fighting off an alien invasion. We've done space opera, murder mysteries, globe-spanning conspiracies, political intrigue, techno-thrillers, what have you. But our best moments and our most memorable stories have always been when we've had our characters grapple with the same sort of real, complex problems that beset the world our readers live in. We've been doing that since the beginning too, as in Walter Jon Williams's story "Witness" from the first book, the only shared world story ever nominated for a major award (the Nebula). The Committee triad was always intended to have a strong grounding in reality, even in its original incarnation.

- The conclusion of INSIDE STRAIGHT saw the setting up of The Committee, an official, authorised 'super-team' - something the WC universe hasn't really had since the days of the Four Aces. What prompted you guys to go in this direction, and will there be any echoes of the experiences of the Four Aces' short career in The Committee's future?

MELINDA: I want to see a more positive outcome for the Committee. In the era of Obama I don't want to discourage any person from believing in the power of service. There are pitfalls, but I wouldn't want to take the position that it is always doomed to failure.

KEVIN: There’ve been plans for The Committee for years. It might have come earlier, but publishing vagaries being what they are, it’s good that it’s here at this juncture. As for echoing the Four Aces.... Well, nothing perfect lasts forever, and is pretty boring to read about if it does. The Committee is going to have trials and tribulations, if just because it wouldn’t be believable or interesting if it didn’t.

BUD: The Committee has been on the drawing boards for a long time. As to the future, even if I knew I wouldn't say.

JOHN: It was a new direction to take, as noted, and one which could employ many of the plethora of new characters created for the Next Generation. Any comparisons to the relatively short career of the the Four Aces will have to wait until the publication of SUICIDE KINGS.

SLF: Will there be echoes of the Four Aces? Why, you'll just have to wait and see... :-)

IAN: I have to admit, I hadn't thought to draw a comparison between the Committee and the Four Aces. I'll bet there are some echoes between the two storylines, but probably not in the ways people might expect. Instead of the Four Aces, I think the Committee triad (at least in its initial conception) was influenced more by the legend of Camelot...

CARRIE: I imagine a scene with Jack Braun looking at the Committee, thinking, "Oh my God, it's starting all over again," and being appalled. Him telling one of the kids, "Just make sure you get out before they screw you over." The scene hasn't happened, but I can't help but think that must be what Jack is thinking. That it hadn't really been done before in Wild Cards, and on this scale, was one of the incentives for doing it, I think. Also, it's a different world than it was in the forties. And third, some of us wanted a little optimism, and wanted our heroes to be able to do some real good in the world.

VIC: From my viewpoint as the resident (actual) anti-authoritarian? Good old fashioned American exceptionalism. The notion that "we" can make everybody nice by force. And by nice, we mean, like us. By internationalizing the Committee through the UN, we bring on board foreigners who act and think acceptably like us. And of course that works out as well as it has in our world. And sadly will apparently continue to, since in US foreign policy, it turns out "change" means, "more of the same, only harder."

GRRM: For what it's worth, if we had done the Committee triad back in 1993, as we intended, it would not have grown out of a television series, but rather out of the events in Jerusalem dramatized in BLACK TRUMP, and the founder would have been one of the original members of the Four Aces. Ah, the road not taken...

- Drummer Boy started out as an annoying ass in INSIDE STRAIGHT. This was indubitably planned all along, but how interesting was it to write about the transition Drummer Boy experiences throughout INSIDE STRAIGHT and BUSTED FLUSH, and which turns him into one of the most interesting characters of this new triad?

SLF: Wow. I'm very pleased to hear that you liked DB that well. From the beginning, as you surmise, my character arc for DB was to move him from being an egotistical, self-absorbed ass to a real 'hero' with the emotional scars to prove it. That journey began in INSIDE STRAIGHT, and pretty much comes into full fruition in BUSTED FLUSH, where he's going to receive a cold and harsh jolt of reality and have to make a huge decision. I really don't care for black-and-white characters. I like characters with lots of gray. I like characters with flaws, who have to struggle with those flaws, who have to confront their own weaknesses in order to survive. As I said somewhere upstream, I believe there are very few saints in this world -- and I don't find saints particularly interesting. I like heroes who have shadows in their souls. And that what I tried to create with DB.

- Carrie, you've written two Kitty novels, worked on two Wild Cards projects, and God knows what else in the last few months. Care to give George a hand with ADwD!?! What's your secret, other than lack of sleep and going nuts!?!

CARRIE: I've actually just finished Kitty #7 as well... It really doesn't feel like that much when I'm in the middle of working on it all. Remember, that's almost three years' worth of projects you're listing there. It only seems like a lot when looking at it in hindsight. I had a shock this fall when I realized I had something like 8 different short stories coming out in anthologies and magazines this fall, and I thought, "Wow, I really have been busy." The thing is, the number of projects I finish is nothing compared to the number of projects I have brewing. I'm pretty much always working on something and it hasn't occurred to me yet to take a break. As for helping George out... right now I'm trying to picture Kitty in Westeros and the results are...well. Maybe I'd better get back to my own projects.

- George has talked about his view of there being 'architects' and 'gardeners' in writing - roughly, those who plan the story against those who plant the seeds and see what comes up. Which would you say you are? And does a collaborative project like this demand a floor plan?

BUD: I'm much more of a gardener, although I think both aspects are needed. My stories tend to be character-driven and that lends itself to a more organic approach to fiction. Although he gets input from the rest of us, George is ultimately responsible for the floor plan.

KEVIN: I’m sort of a gardener with a trellis. With a project like this, you need to have a plan of basically what’s going to happen and who’s going to do what, but I like to have things spring up organically, especially dialogue between characters. And occasionally characters emerge who weren’t even in the original outline. Miss Partridge, for example, wasn’t in the original outline when I pitched it to George, but once she came on stage and spoke her first line, she definitely belonged.

CARRIE: I'm a little of both. I wish I could outline in more detail, and I usually have a good idea of the broad strokes--and I always know the end before I start. But I also depend a great deal on the ideas and connections that spring up while I'm writing. Writing Wild Cards absolutely demands a floor plan, though. We need at least a basic idea of what everyone's doing and where everyone is ending up, if we have any hope of tying it all together. The full mosaic novels need this even more.

SLF: By inclination, I'm a gardener. When I write my own novels, I generally have a good thematic idea of what I want to accomplish, a firm opening scene or three, and a general idea where I think the characters should end up. And I have no clue what everything in between might be. I set the characters in motion and basically follow along behind them, sometimes nudging them if they start veering off too sharply, but willing to end up at some other place than what I had in mind as long as it's a better place from the aspect of 'story.'

But that's not generally how it works in the WILD CARDS world -- which is why I often have panic attacks when it's time to pitch a story: because I don't plan much, because I don't really know what my character's going to do, and now I have to come up with a firm "this is what happens in my story." Luckily, George has been forgiving thus far of my somewhat 'airy' and vague pitches. Once the decision has been made as to who's in a particular book, that's when the real planning begins, because yes, in a collaboration as tight as these books are, we all have to be architect enough to build a solid portion of the books' structure and not have it collapse. However, as a group, we do remain open to the occasional wild seed sprouting in the middle of our well-planned garden.

MELINDA: I am very much an architect. Part of that comes from years as a screenwriter, but that is also my natural inclination. And yes, Wild Cards requires careful plotting or it turns into a giant mess.

IAN: Finally, an easy question! I'm definitely more of an "architect" than a "gardener". Writing is most comfortable to me (and the most fun) when I know the beginning and end, whether it's the beginning and end of a short scene or the beginning and end of an entire novel. For me, that puts just enough structure on things that I don't get lost in the weeds, while still leaving enough flexibility for my subconscious to surprise me as I pick my way from A to B. I'll go out on a limb and say that these Wild Cards novels would have been almost impossible to piece together without having at least a general outline. (Of course, it's easy for me to speak in vague generalities since I'm not the person who had to piece these books together.) Since I'm a newcomer, I don't know how these things were handled in the old days (cough), but I do know we had countless plot discussions during the creation of INSIDE STRAIGHT and BUSTED FLUSH. We're currently putting the final touches on SUICIDE KINGS, which is the finale of the Committee triad and a full-on mosaic novel. The planning for SUICIDE KINGS involved a full day of discussion, with Ty Franck patiently taking notes, from which George and Melinda assembled a very detailed outline.

That said, the plans and outlines do tend to change a LOT as the books come together. Which leads to rewriting. And more rewriting.

VIC: A guy who builds gardens and grows stuff in 'em? I do both, candidly. Or maybe an orderly gardener (taking for granted you can't see my yard and mock me for saying that.) After a third of a century as a professional writer, I still struggle to find the proper balance between structure and improvisation. Basically, I find I create most freely when I have a degree of structure; the tricky part is how much/little. As for a project like WC, oh, hell yes. At least for our "collaborative novels" we need a "floor plan." No practical way around it. We're all telling our tales about our people; at the same time we're also telling a larger tale that incorporates everybody's people. So we all have to build - or train our "plants" - in a certain common direction. As a tongue-in-cheek Metaphor Police aside, who on Earth actually gardens by randomly planting seeds and seeing what comes up?

JOHN: I'm more of a gardener in the Wild Card world of architects. The Wild card world needs to be rigorously planned, or else it would take forever to finish a volume and it takes pretty long as it is, anyway.

CAROLINE: I think I’m mostly a gardener. My stories are character driven, because that’s what interests me. But you have to have a balance between the two to be successful. That’s my goal, to have a better balance between building and growing.

- How often do you end up having to pore over previous books to confirm a detail for consistency?

MELINDA: We got to write these three books in pretty close proximity so that really wasn't a problem. Where we had trouble was when we had to remember something from the earlier books. There were more than a few frantic emails flying about saying -- "Is this person alive or dead?" "Did so and so go to the Twinkie Dimension with Bloat?"

GRRM: I do a lot of poring over, but that's why I get the big bucks for being editor. I will say, though, that the process is a lot easier now with our "new generation" of characters than it was along about book fourteen or fifteen, when we were still dealing with the original cast. After so many volumes, characters like Popinjay, Modular Man, Mr. Nobody, and Cap'n Trips had such long, complex histories that keeping all the details straight required major effort, and a near-encyclopedic knowledge of the books. (Which I had back then, but have since lost, all that Wild Cards trivia having been displaced in my head by Westeros trivia). Curveball, DB, Bugsy, Lohengrin, Noel, and the rest of the new bunch are blank slates by comparison, so keeping track of them is much simpler. Of course, if they hang around as long as the original cast did, the problem will inevitably recur...

- What can fans expect from the third volume? The BUSTED FLUSH finale appears to hint that there might be a lot more in store for this new generation of aces, so are there plans for additional Wild Card novels/series in the near future?

JOHN: I hope so.

GRRM: It's up to the folks at Tor... which means, bottom line, that it's up to you guys. Hey, paperback books make great stocking stuffers! Go out and buy a dozen copies of INSIDE STRAIGHT and give 'em to everyone you know, and help convince Tor to do more. We certainly want to do more. We love the world, and the characters, and there are hundreds of great stories yet to tell.

VIC: In SUICIDE KINGS it hits the fan. *Big time.* Fans can confidently expect a senses-shattering conclusion to the three-volume arc. And the resolution of some mysteries of very long standing.

KEVIN: Well, obviously SUICIDE KINGS is coming up next, so that’s definitely on the schedule and being written right now. I’m not doing part of it, but I’m wanting to write some stories with Rosa Loteria, so when the next book comes on the slate, I expect to be pitching her for that.

IAN: What can fans expect from SUICIDE KINGS? Crocodiles! I know from informal conversations that George has ideas brewing for at least two more trilogies and a stand-alone novel or two in the Wild Cards universe. And that's probably just scratching the surface of his overly-fertile imagination. But I can't share what I've heard. If I did, George would condemn me to a five-year stint as a galley slave on his gilded war-yacht.

MELINDA: I hope we'll get to continue with the series past this initial three book contract. Of course that's dependent upon our sales. I think we've written some very powerful and evocative stories, and I think there's more for us to explore.

BUD: No way I'm spilling the beans on the third book. As far as the future volumes, that's something sales always dictate.

SLF: Buy the books, and there will be more. Don't, and there won't. It's that simple. Then again, WILD CARDS seems to be the zombie series: you can't kill it.

- Wild Cards has been optioned in the past for television adaption, although as I recall it's not presently optioned. Is there any development on that front, such as new script development?

MELINDA: Actually I currently hold the option on Wild Cards. I had written a spec screenplay that got quite a bit of attention, but nothing seems to gel. Unfortunately HEROES has really hurt our changes which is too bad because HEROES is pretty darn bad.

- Despite its rocky past season, Heroes still draws millions of viewers. What three reasons would you give to those viewers for why they should pick up Wild Cards?

VIC: 1. We did it first. 2. We did it better. 3. We still do.

JOHN: 1. It was done first. 2. It was done better. 3. I could use the money.

MELINDA: Because we're good. Seriously, I have an entire rant about Heroes because they made me a promise in the first episodes of the first season that these disparate people would be drawn together to defeat the villain who could steal all their powers. I was waiting for that final exciting moment when they were all drawn together and would pool their powers in interesting and innovative ways. What we got was lame in the extreme, and left me feeling terribly let down. They also violated a cardinal rule -- don't ask me for an emotional response, and then start the second season and have me discover that the deaths I grieved over didn't really count. We may end up with too much plot in some of our books, but we will work really hard to give you an emotional experience that is honest and true. And hopefully some kick ass action along the way.

SLF: 1) We were first 2) We're much better 3) A book in the bathtub is better than a TV in the bathtub

BUD: 1. If you like super-powered characters, check ours out. 2. Jokers. They make such a difference in the Wild Cards universe. 3. We do things that network TV can't.

KEVIN: Well, going in order, 1. Wild Cards did it first, and will show you things you can’t see on network television–and we’d even give HBO a run for its money, 2. If you like Sylar and Peter, you’ll love Cameo–and she’s been picking up powers years before the Petrelli boys got started, and has an even more interesting way of doing it than Sylar; and 3. We have Jokers. Folk in Heroes get kewl powerz which they sometimes have to learn how to control, but once they figure that out, they can walk down the street without people giving them a second glance. This is a little more difficult when you have eight arms or a tail.

CARRIE: It's better. (snark) Wild Cards makes more sense. (double snark) If you want characters you can fall in love with, earth shattering events and cliff hangers, and wicked cool superpowers, you want Wild Cards. (seriously, there)

IAN: Heroes strives to tell superhero stories on a sprawling, global canvas. It's a very ambitious effort. But it's hampered by a number of factors. One, it has to conform to the realities of television--it's hard to do superheroes on a budget. (Even one as large as the budget for Heroes.) Two, doing huge stories with such powerful characters requires a tremendous amount of planning ahead in great detail; unfortunately that isn't always feasible given the realities of television production. Three -- and this is just my personal opinion as a viewer -- Heroes doesn't take seriously its promises to the audience. Many of the Heroes story lines were explored in greater depth by Wild Cards years and years ago. Plus, they were covered without the limitations of a television special effects budget. And we are very aware of the promises we're making to readers as we put these stories together-- we have an obligation not to jerk our readers around, and we take that VERY seriously. There is such a thing as "closure" in the Wild Cards universe; I'm not sure the same can be said about Heroes.

- Working on a project like BUSTED FLUSH provides a lot of exposure many wouldn't normally get for their solo projects. So here's a chance to let everyone know what you have in the pipeline!

VIC: A sprawling epic fantasy called THE DINOSAUR LORDS. Which is about, well, what it says: knights riding dinosaurs. And fighting a zombie army; there's that, too.

SLF: The second book in the Nessantico Cycle, A MAGIC OF NIGHTFALL, will be out in hardcover from DAW Books in March, 2009. The mass market pb edition of A MAGIC OF TWILIGHT, the first volume, will be out in February, 2009. I'll also have a short story in GAMER FANTASTIC (edited by Kerrie Hughes and the ubiquitous Martin H. Greenberg), which is a July release from DAW.

KEVIN: Well, there are a number of projects I’m working on but can’t talk about just yet. But for short fiction, I have a story coming up in Esther Friesner’s suburban witches anthology, WITCH WAY TO THE MALL? and a sequel in her suburban werewolf anthology STRIP MAULED. And I’m working on more.

BUD: I'm working on a novel and a couple of short stories, but they're not finished, yet.

CAROLINE: I’ve been working on the final book in this trilogy, SUICIDE KINGS and haven’t had a lot of time to work on my own stuff. But I am almost finished with a novella called, “The Cave.”

JOHN: I am just putting the finishing touches on the next volume in the Green Ronin series of Wild Card gaming books. This one is called ACES AND JOKERS and will contain the biographies of almost 400 aces and jokers (and nats and aliens). Beyond that, I'm working on my novel BLACK TRAIN COMING, set in the coalfields of 1920's West Virginia, where the bloodsucking capitalists are actually bloodsucking capitalists and all that stands between them and their vampiric domination of the world is a small band of heroes and their allies, a race of immortal dogs.

CARRIE: Kitty and the Dead Man's Hand and Kitty Raises Hell are coming out back to back in February and March 2009. I've finished Kitty #7: Kitty's House of Horrors, which will probably be out in 2010. I'm working on a young adult novel that's an alternate history with rock climbing, dragons, and jet fighters (no, really...). I also have lots of short stories in the pipeline (including some Kitty-related). My website is http://www.carrievaughn.com/ for more info.

MELINDA: My current novel THE EDGE OF REASON is on the shelves now, and the second book THE EDGE OF RUIN is due out in the fall of 2009.

IAN: I have a trilogy forthcoming from Tor books, starting in 2009. The Milkweed Triptych is a science-fantasy alternative history yarn complete with superheroes, spies, and demons. I've turned in the first book in the series, BITTER SEEDS, and I'm currently elbow-deep in the second volume, THE COLDEST WAR. I'll start the final volume of the series, NECESSARY EVIL, next spring I've also written a television pilot with Melinda Snodgrass, and we're currently writing a feature-length screenplay together.

GRRM: I'm working on this fantasy series. A SONG OF ICE AND FIRE, it's called. Four books published, and if I can even finish this fifth one, there will be two more after that.

- Anything you wish to add or share with your fans?

GRRM: You guys rule.

VIC: Thanks. Deep, total thanks, both to my personal fans and to the fans of the Wild Cards universe. Without you we're all just whistlin' in the wind. And also working at Mickey D's. It's an honor. Please allow us to continue to entertain you. We'll do our best not to let you down.

CARRIE: Keep reading. Rock on.

SLF: Save our economy -- buy books!

KEVIN: Keep reading. If it weren’t for you, we couldn’t keep doing this thing we love.

BUD: Without our fans there are no books. You're appreciated by all of us.

JOHN: Thanks for your continued support.

CAROLINE: Fans? I have fans? Really? Can I meet them? Hey, where are you going . . .