Jen (jenk) wrote in dansemacabre,

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from LKH interviews

I thought these were pretty good. Spoiler warning: if you follow the links you may get some - at least for Blue Moon & onward.
On her education:
My degree in biology is probably one of the main reasons my "monsters" seem so real. I start with real animals for my were-animals. I try to use as much "real" science as I can.
On using real people as characters:
I do not use real people as characters. I'm superstitious. Bad things happen in my books. What if I killed someone off and then a few days later the person I based the character on also died horribly.
Anita's genesis:
Out of college, I started reading a lot of hard-boiled detective fiction [with both male and female protagonists.] The men got to cuss, the women rarely; the men got to kill people and not feel bad about it, if the women killed someone they had to feel really, really bad about it afterward and it had to be an extreme situation; the men got to have sex, often and on stage and very casually, but if the women had sex it had to be off stage, very sanitized and they had to feel guilty about it afterwards. I thought this was unfair.
- in The SF Site
On research:
When I did Guilty Pleasures [I interviewed a policeman.] Asking about ghouls in a cemetery raiding graves, I said ‘I know that in real life that doesn’t happen,’ and he got the strangest look on his face. And he said, ‘People have teeth too.’ He had been called to cemeteries where people had raided graves and done pretty much what I was writing about, except not as thoroughly. That was the moment I realized that anything I’ll ever come up with on paper has already been done. Once you take out the magic system or the stuff that won’t work with physics as we know it, I cannot invent anything they haven’t already done."
- from Locus Online
Advice for new writers?
Write. You'd be surprised how many wanna-be writers never seem to do that. Write, then finish it. Finish the story. Finish the book. Do two pages a day, every day. Do not revise as you go. If you come to something you don't know, like what does 14th century underwear look like, put a note, skip it, and keep writing. I hear the wailing and gnashing of teeth, but trust me I've met too many writers that have the perfect three chapters of their book, but nothing more. Three chapters isn't a book, it's a beginning -- finish it.

Once you have hundreds of pages on the other side of your computer, then go through and fill in those blank spots with research. Now, you can look up how to undress your 14th century heroine. Now you can chorography that fight scene. If you spend more than a week on a scene, maybe two days, skip it, write a note that says, fight scene here. You know who wins, just move on, keep going. The second draft is just filling in the blank notes. The third draft is where you begin to edit, and polish the writing. I did seven drafts of my first book, and I wrote it just like I've described. It sold. Most first novels don't. My way is not the only way, heaven knows, but it's the way that allowed me to write my first five to six books.
- from Barnes & Noble
On sex scenes
No, I was never intending to have sex on paper. I was never going to do it. So that every kiss, every caress was going to be so amazing that you wouldn’t need it.

Of course, I wrote myself into a corner. With book six, when they were going to do the “dirty deed” on paper, I couldn’t do that 1940s pan to the sky. For five books and every crime scene, the camera had never flinched. So what did that say about me that when it came time to have sex on paper I wanted to flinch? It says I’m very American. We’re fine with violence; sex makes us uncomfortable.

Jean-Claude had been a ladies man for over 400 years. And he’s French. After five books of buildup, it had to be good. That first scene was the hardest.
On writing about multiple partners:
For research, I interviewed some households that have three people in a “couple.”
- from St Louis Post-Dispatch
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