Read an insightful GALAXY’S EDGE interview with Nancy Kress!

Tomorrows-KinNancy Kress is one of science fiction’s crown jewels. She is a writer of powerful science fiction, having won Hugos and Nebulas. She also is known as a talented writing teacher.

September’s issue of sf and fantasy magazine Galaxy’s Edge has an insightful interview by the wildly talented author. To read her own personal thoughts on her career (and to access the full interview) you can click the magazine link to see the many options available for buying this wonderful 28th issue.

To whet your appetite here is an exclusive excerpt:

Joy Ward: How did you get started writing?

Nancy Kress: By accident. I had never planned on being a writer. When I was a child, I thought all writers were dead because the writers I was reading were Louisa May Alcott. I really did not realize that writing was a commodity that was still being produced. I thought it was like oil, there was a finite amount of it.

Then I discovered that there were actual writers living and this completely shocked me, but I come from a very conservative Italian-American family, and I grew up in the 1950s. So my mother sat me down when I was 12 and said, “Do you want to be a teacher, a nurse, or a secretary?” Because those were the only possible things she could think of, and I thought it over and I said, “Okay, I’ll be a teacher.” So I became a fourth grade teacher, and I was for four years. I enjoyed it. Then I got married and had my children. I was pregnant with my second child. We lived way out in the country. There were no other women at home. They were all older and had gone back to work. My then husband took our only car to work, and he was taking an MBA, so he often didn’t come home for dinner; he stayed for classes. I was there with my one-year-old- 18-month-year-old, very difficult pregnancy, and I was going nuts.

I started writing to have something to do that didn’t involve Sesame Street, and I didn’t take it seriously. It was a thing I was doing while the baby was napping, to try to have something of my own. I would send them out. They’d come back. I’d send them out they’d come back. After a year, one sold. After another year, a second one. After another year a third one sold, then it started to pick up and I began to take it more seriously, but I didn’t plan on doing this.

I remember (selling the first story) very well. It was to Galaxy, which is a magazine long-defunct. What I didn’t know is that everybody else had stopped submitting to Galaxy because it was trembling on the verge of bankruptcy. I had no connection with fandom. I didn’t know it existed, I didn’t know SFWA existed. I didn’t know conventions existed. When I first sold it, it turned out that nobody else was submitting anything, and they were desperate. So they published my story immediately then it  went bankrupt. It took me three years to get my $105. I wanted it, and I kept writing and I’d say, “This is my first sale. I want my $105.” And for that eventually I think he had pity and he sent me the check.

I did it. I did that was what goes through my mind. Three words, “I did it.” I didn’t think I could, but I did it.

To read more go to Galaxy’s Edge for options on purchasing issue 28!

 

GALAXY’S EDGE INTERVIEW’S KIJ JOHNSON

Kij Johnson is a Hugo winner, and a three-time Nebula winner (in consecutive years, yet!) and is acknowledged as one of the field’s leading short fiction writers. And this week, over at Galaxy’s Edge, Joy Ward interviews her about what it takes to be true to yourself as a writer:

“One of the most important things I ever say to my students is, everything else I teach them is just tactics, but the thing that I am always proudest of bringing up is: figure out why you’re writing. Really why you’re writing. Not, oh I have things worth saying or oh, I want to make a living or whatever it is. But really if you go all the way down deeper and deeper and deeper, like spend two years in therapy with a therapist every single Tuesday. So why do you write? Usually the answer is somewhere in early childhood. So it’s a little kid response. I’m not ascribing any value judgment to that. Because mine, when you get right down to it, is parents were sort of emotionally absent and when I wrote I didn’t get praised for my writing very much but I didn’t get praised for anything else. So my writing ultimately was a way of saying I’m not my mother and look at me to my parents. I also did a lot of art for the same reasons. That’s mine. We all have one, ultimately, underneath it all. Whatever we say in interviews usually is the cover up. It’s the pat response we use to cover up the sincere response. I do it because the only time anybody took me seriously as a 5’10” Amazon blonde was when I wrote and they didn’t know what I looked like. Because they stopped staring at my chest long enough it took to read my story. So there are so many responses and so many of them sound venal or petty or small or something like that. Those responses are not any of those things. Those responses are the heart that when we understand it gives us the spines that we build adulthood on. That’s what I always think of, so to me knowing that is the most important part of your writing cause if you know your reason for writing is because you’re competing with your dad and you didn’t know it. It’s like, as soon as you know that, now you can get away from writing your dad’s story or the stories that are going to school your dad about you and now you’re going to be able to tell the stories you want to tell. If you are doing it because you are insecure and you want people to look at you, that you’re smart or clever or cute or whatever it is, as soon as you know that, you are in control. Until you know it you don’t. So I’m always telling undergrads but especially adults because we get those super complicated defense mechanisms that allow us to never, ever look at ourselves. That’s fundamental. That’s my answer really. It’s fundamental that we understand who we are and our smallest, pettiest, most selfish or narcissistic or greedy, envious little pieces. We can either counter or use to our advantage and make them work.”

Go to the interview page of Galaxy’s Edge Magazine to read the rest of this wonderful interview!

Copyright © 2017 by Joy Ward.

 

Joy Ward Interviews Robert Silverberg

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Remember I am a science fiction writer. I spent my life writing about people who traveled in time and found themselves embedded in some strange era that they could barely comprehend and learning the ropes as they were dumped down in the far future of, say, 1979 back in a story written in 1955. So I expect change. I’m not astounded that the world has changed out of recognition all around me. I’d be pretty upset if it hadn’t.”Robert Silverberg

The 24th Issue of Galaxy’s Edge went live at the start of the year, with stories from the likes of Mercedes Lackey, Kevin J. Anderson, and Michael Swanwick! One of our biggest joys working on Galaxy’s Edge (pun definitely intended!) is reading the ever fascinating interviews Joy Ward conducts with the luminaries of our field. Here is the latest:

Joy Ward is the author of one novel. She has several stories in print, in magazines and in anthologies, and has also done interviews, both written and video, for other publications.

 THE GALAXY’S EDGE INTERVIEW by Joy Ward

Robert Silverberg is one of the living giants of science fiction. His writing has been in constant print for well over fifty years and has been a defining influence on more writers than we will ever know. No science fiction reader can ever consider him or herself to be well read without at least one of Silverberg’s masterpieces under the belt. We were lucky enough to catch up with him at his lovely home in the San Francisco Bay area.

Joy Ward: How did you get started writing?

Robert Silverberg: I started reading science fiction when I was ten or eleven and by the time I was thirteen I decided I could do this too. This was not actually correct at that point. I did send some stories to magazines and, when they figured out it was a boy sending them and not a demented adult, they sent me very gentle rejection letters. But I continued writing. By the time I was sixteen, seventeen I was getting published. That’s how I began writing.

JW: Tell me about the early days of writing. What kind of stories were you writing?

RS: Probably not very good ones.

I lived in New York then and I sent the stories, nearly all of which were edited, in New York, and they sent them back with encouraging letters. Then they started sending checks. The editors invited me to come down and meet them. I hastened to do that. I think they were surprised to discover I was eighteen or whatever but I got to know them, became part of the New York science fiction writers group as a kind of mascot, really, and as the editors discovered that I was a very dependable craftsman they began calling me and saying “Bob, we need a story of five thousand, five hundred words by Friday to fill a hole in an issue. Can you do it?” I would say yes and I did do it.

JW: How did that feel to be with all these literati?

RS: Well, I was accustomed to that because, more or less against my knowledge or will, I got skipped through the early grades very quickly. I could read when I was about four. I didn’t spend much time in kindergarten. I zoomed through. Suddenly I was in the fourth grade and I was a year and a half younger than everybody else; and when you’re seven and a half and they are nine that’s a big difference. So all through my childhood and adolescence I was younger than everyone else. Then I started my career and the same thing was happening so I assumed this is what life is like.

What is really strange is now I’m practically eighty and I’m older than just about any functioning science fiction writer. Not that I’m functioning much anymore but I’m still up and moving around and it’s a very odd experience for me after having been so precocious, to be older than everybody that I know.

It’s kind of lonely. I’ve always gone to the science fiction convention every year, Worldcon, and I formed friendships with writers who were fifteen or twenty years older than I was. People like Frederik Pohl and Lester Del Rey and L. Sprague De Camp and Gordon Dickson and on an on and on. Because they were fifteen or twenty years older and I am now eighty they are all dead. There’s one writer left, James Gunn who is 91, of all the writers that I knew from those early conventions. So I’ve had to form a new set of friends among young people like George Martin and Connie Willis and Joe Haldeman who are only sixty-five or seventy or so.

It’s been a conscious act on my part to form new friendships because otherwise I would be all alone. (I would be) that guy with the white beard standing in the middle of the convention hall saying, “Where did everybody go?”

Science fiction writers are a very collegial group.  Before science fiction was big business it was a downtrodden minority. It was a funny little pulp fiction field. Gaudy looking magazines with names like Amazing Stories, Astounding Science Fiction and we were considered pretty weird. So we banded together, a league against the world. Of course that all changed, changed almost frightingly, and science fiction became such big business that it’s impossible now to keep up with the whole field, to understand what’s going on. When I go out into what I laughingly call the “real world” I hear people talk about aliens and alternative universes. All of those esoteric things that were our private property are now in everybody’s vocabulary because you can’t go to the movies without seeing five trailers for what they call the new sci-fi movies. I hate that sci-fi word.

So science fiction writers tend to choose other science fiction writers as their friends. Not exclusively. Also, I have no family to speak of. I have a wife and a brother-in-law and sister-in-law. That’s about it. I have no ancestors left. I have outlived them all and I never had children. So the science fiction writers are sort of surrogate family for me. That’s why when I go to the convention I don’t want to stand there and say, “Where did everybody go?” It’s an unpleasant feeling. But I don’t. I’ve known a young whipper snapper like George Martin, I’ve known him for thirty-five years or so. This is not a recent friendship.

The big high point of my career, not a very difficult one to understand, was 2004 when the science fiction writers gave me the Grand Master trophy. What was special for me about that, I had been a member of SFWA since it was founded. I was there when the Grand Master award was invented and given to Heinlein and to Jack Williamson and to Clifford Simak and to Sprague De Camp— and these people I’m naming are all writers I read and admired and idolized when I was twelve, thirteen, fourteen years old. Suddenly in 2004 I’m getting the same award they got, which told me that you have achieved something in your career. You have found a place for yourself among them. I never really, I don’t see myself as being among them. I’m just that kid that managed to get a lot of stories published back there in 1956. But from the outside I know it looks different.

It feels wonderful because I was a reader, a fan, and came to conventions when I was fifteen, sixteen and looked at these demigods and grew up to be a demigod myself. I can only feel that I did it the right way. That’s a good feeling. You don’t want to know that you have wasted your life or you bungled your ambition. I haven’t. I remember at a convention about twenty-five years ago I was standing in the lobby of the hotel talking to Isaac Asimov and Arthur Clarke, both of whom I had known for many years and I regard as friends. But the teenage boy within me could not help thinking, “You’re talking to Asimov and Clarke.” Then I heard somebody about twenty feet away say, “Look. There’s Asimov, Clarke and Silverberg.” It put everything in perspective when you see it from the outside like that.

To them, standing over there, that was a group of big-name writers. To me, time traveled back to 1953. I’m a kid who mysteriously finds himself talking to these titans of the field. A lot of double vision involved.

I’ve done a lot of writing that isn’t science fiction. I wrote a number of books about geography and geology and scientific subjects. I wrote a few western stories. I wrote some detective stories, even though I wasn’t very good at that. Mostly what I thought when I did this is this is what I do when I’m not writing science fiction. A lot of hardened science fiction writers have felt that way that it’s not really sensible or justifiable but I remember James Blish, a writer who I revered who has been dead a long time now, Jim was a great science fiction writer but to pay the rent he wrote for sports pubs and westerns, which was funny because I don’t know Jim knew which end of the baseball bat to swing and as for westerns, he was a New Yorker through and through. But still that’s what he did and he always regarded the other stuff as something you did when you didn’t have a science fiction idea but your main business was writing science fiction. On some level, I think that too.

To continue reading, check out the full interview here, at the Galaxy’s Edge website!