So when you come to events like this and you sit on the panels, do you do it more so the fans can understand you more as a writer or do you do it to help out young aspiring writers and try to give them some tips and tricks?
You know, it’s a little bit of both. When I was young—I was 17—I went to my first convention and Katherine Kurtz was there and she sat down with me. And I was just a young, teenage, aspiring writer, and she talked to me for a good half hour on the business, how to write, and other advice. I’ve remembered that ever since, and I thought if I ever get in this position where I can do the same thing, I want to be available.
Becoming a writer, so much of it is solitary. You have to spend all this time sitting, writing on your own, and practicing that when you can actually connect with someone who has gone there before, it can mean more than basically anything else in your writing career—save just practicing. So I like to be available.
I’m at this place in my career where my fans support me. They read the books and that makes it possible for me to do what I do, and I want to be available for them. I use the metaphor that—I guess it’s more of a simile—you’re like the people in the 19th century. If you wanted to be an artist you had to find a wealthy patron to take care of you. And my wealthy patron is the fandom, right? I exist with them supporting me actively. I mean these sci-fi and fantasy fans are well connected. They can all go pirate the books—they all know how to. But instead they buy them and support me. So I want to be available.
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