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Scott Westerfeld on “Is it harder to write the first book as opposed to the second (or third, fourth…), or does it depend on the content of what you are writing?”

I think middle books are the easiest to write. You don’t have to introduce a whole world, like you do in a first book, and your reader will know at least some of your characters. So you can play around with the details, expanding what we know about the world or turning things on their heads. You can introduce new characters and themes if you really want to in a middle book, but there’s a lot less pressure.

The hardest books to write are the last in a series. You have to wrap everything up, which is quite daunting. It’s sort of like that moment when a juggler stops juggling, and has to catch all those balls with only two hands. That part always look a bit gawky compared to the elegant balls-in-the-air part, and I think last books in a series can have that same sense of ungainliness.

Maybe that’s why writers have tended toward longer and longer series. After all, a trilogy only has one middle book, but a ten-book series has eight delicious middle books! And once you’ve written that many, it’s even harder to wrap things up, so I can see why some writers (you know who you are) seem to go on forever.

Scott Westerfeld on “Do you feel that you stick to a certain theme (if you have written more than one book)?”

I don’t really have particular themes, but I definitely have certain tricks that I turn to all the time.

For example, my characters fall a lot. Tally’s always flying or falling or jumping off things. In the Midnighters series, Jonathan can sort of fly, though it’s more like jumping really far. And even my most earthbound characters do lots of climbing and parachuting. Maybe it’s because I have flying dreams, or because I have a fear/fascination with heights. There’s something very satisfying about a character jumping into the void to escape (or land in) a problem.

Another trick I constantly use is similes. I have at least one on each page, sometimes many, though I try to pace myself. This might be from reading Raymond Chandler as a college student (he is the MASTER of similes) or from working in computers in the 1990s. Back then, I often had to explain software to people who didn’t understand computers at all, and metaphors, similes, and analogies were always very helpful. Similes are a great technique for introducing people into an unfamiliar setting, like the future or a fantasy world, while making them feel at home. That’s why my books have more than the US Recommended Daily Allowance of similes, I guess.