For me, any fiction of nobles and swords necessarily has to be a story of corruption, injustice and savagely violent conflict - because any other treatment is going to have all the heft and realistic honesty of a bedtime fairy tale for five year olds.
From Richard K. Morgan
I remember visits to the local libraries and getting my own library cards as things of rite-of-passage significance.
Evolutionary theory informs our understanding of some frankly inexcusable social behavior and renders it perfectly normal.
Certainly a decade and a half out in the real world, bashing my head against things, probably made me into a more textured writer. It gives you something to write about.
I think certainly if I'd started getting published when I was in my early twenties, I was quite sheltered then and didn't know anything much about the world. I hadn't had any direct experience of how the world works.
Good authors mature over time: it does take awhile. Travel abroad and learn to live in other cultures. That's one of the things about teaching abroad.
There's a lot of young authors out there, and people do seem to forget: in order to write well, you do need to have some experience.
A typical twenty-page short story would work quite well as a graphic novel. A single graphic novel of maybe 120 pages would condense down into a short story quite nicely.
'Syndicate' is technically the first game I worked on.
I guess if I was made responsible for every single line of dialogue in a game and every single piece of textual visual detail, every sign or piece of graffiti, then yes, I think that would be comparable to the time and effort required to write a very long novel, indeed.
4 perspectives
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