Ambrov Zeor. Issues 1-3. Page #75


Dublin Core


Ambrov Zeor. Issues 1-3. Page #75


Science Ficition Fanzine


A fanzine centered around the Sime Gen Universe.


Ann Pinzow, Jean Airey, Judy Segal, Kerry Schaefer


Georgia Tech Archives: Science Fiction Fanzines Collection:




Mani Japra, Collin Richards, Emmanuel Fregene, Ella Sivertsen




Science Fiction




: Wanderlust?

JL: No, .he's tainted with scandal -— terrible scandal. I keep revising what it is that he did that
was horrible! By the time it's published, it may be something else again, but I have a vague notion.
Want me to tell you what my current notion is? v

ID: No, I'll wait; and I'm also waiting for a short story, Jackie.

JL: Never. Never. The closest I've ever come is "REccnpense," which Galileo is gonna publish. It's
still not a short story; it's only the kick-off for a series.

ID: What else is around the corner for you?
JL: Well, three or four other series tucked in the back of my head.
ID: You always think in terms of series, don't you? You don't think in terms of short stories.

JL: You really know what Marion said to me about UN'I’O? Every time that we've gotten down to the point
where it needs critiquing and cutting and so forth, she says, "Girl, you've got the material for six
novels in this book!" .

ID: That's it! You think in terms of series, not a single story.

JL: Well, it's in self-defense. I start with a little concept about yea big. And from there it just
sort of grows.

ID: But I've seen articles by you that have yet to see the light of day about the ratings of Channels
and Donors. You explained how much power goes into a rating of IN-l as opposed to anotherrating. Is
it really that necessary to put on paper, be it for yourself or to publish in a fanzine, exactly how
one determines the rating?

JL: Yes, it is. And this is the essence of writing science—fiction. The author has to know, regardless
of whether he puts it in a book or not. . .Iet me tell you how I wrote that article on the ratings system.
I came up to the famous Rizdel scene. When you're writing, you have your protagonist and you have to
be sure that he doesn't appear like a damned fool. When he gets his fanny caught in a bear trap, it's
got to be well and truly caught and it's got to be in such a way that there is no way he could possi-
bly have. . .

ID: 'lhe writer obviously has to know what he's doing.

JL: Okay. Well, when I got Digen into this transfer situation and I --— it was a situation in which

the plot called for him to get himself into unholy amounts of trouble. And I had to do it in such a
way that whatever he did, he did -- because he's the protagonist,_ it has to be done from inside himself:
it has to be characteristic of him; he has to stay in character in the things that he chooses to do.

The reasons behind the choice, the ostensible reasons and the real reasons, the reasons —- his real
suboonsicious reasons -- and all of these things, the reader has to understand the situation in such a
way that the reader sees that if the reader were Digen Farris, he, too, would have made the same mistake.
Now, in order to do that, Ihad to have the exact nature of the pathological problem that Rizdel was
suffering and the exact nature of the therapy that Digen was applying all figured out so that it re-
mained consistent. I wrote the scene carpletelv out, you krm, with all the technicalities but all that
technicality has to fall out so that just the essence remains. But there will be people who will read
the book and who will write -- dying to how what in the hell was going on in that scene. And I've got
to have an answer.

LD: Well-- I'm thinking basically in terms of HOUSE OF ZEOR. Because Iread HOUSE: OF ZEOR the first
time about a year and a half ago and I just re-read it two months ago. And to me -- this was before I
got involved with Ambrov Zeor -- it was a nice science-fiction story. I enjoyed the novel. I thought

it was complete in and of itself. It doesn't need a sequel that takes place two generations later. I
might like to see Hugh Valleroy found Rior and what happens there, and that might be another novel or
short story, but I had no idea that this was the first part -- or a middle portion - of a universe that
goes from A to B and we're in the middle here,, on this little time line. And I had no idea that you
had evolved this huge universal time line for a series of books. But you think that way.

JL: I take it as a tremendous compliment that I managed to disguise it that well.

ID: You say you started with the gem of an idea, but I think your gem of an idea was: "Well, there's
this thousandyear period of time that I want to tell the story of."

37 JL: Well, now, if you look at -- on of the ingredients in the Sime series is all of Heinlein's books,

all of them, frrm A to B. His future history is a series; it wasn't apparent that it was a series until
just recently when he wrote the Lazarus thing that tied it all together.

ID: It was always known as the future history. series, but they were all independent stories that you
didn't have to —- except for "Methuselah's Children," Mulch containd a few referents (to other stories)


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