I always had this non-stop drive. I had to keep sending stories out and every once in awhile I'd get something accepted or get the little trickle of positive feedback.
We sat around on a hotel balcony with a bottle of wine and tried to figure out how you would go about blowing up a planet. That's the kind of conversations science fiction writers have when they get together. We don't talk about football or anything like that.
If I could go back in time and tell my younger self that eventually that I'd become very successful writing Dune books after Frank Herbert's death, I would have laughed myself silly, I think, at how strange that prospect would be.
I'm talking to you and it's basically a direct communication, whereas if I'm writing a letter to you and you read the letter, there are like 12 extra deconstruction and reconstruction steps in the communication.
It was like there was a pile of kindling that was in the back of my imagination just waiting there. Once I lit it, it just flared up and I kept getting ideas and ideas.
We wanted to write the first prequels as a story that anyone could pick up.
My wife and I are involved in writing/publishing/promotion twenty-four/seven. It isn't a day job; it's life.
For a feature in next month's issue of Prog magazine, the photographer spent many hours setting up a photo shoot of me with part of my music collection in my writing office. Since I do most of my writing outside in nature, we felt this shot was most representative.
My total year's income from working as hard as I possibly could from writing went from like $30 one year to about $70 the next year. And it made me realize that maybe you couldn't really pay the rent that way.
Every spare second I would write, somehow. On my lunch hour, too.
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