Consortium >> Q&A's
Read Q&A's with the following contributing authors to the Wild Card series:
Q&A with Daniel Abraham
1) Tell us a little bit about yourself and your experience with Wild Cards.
I started off as a Wild Cards fan when the first book came out.
I remember being especially blown away by Walter's story "Witness". The series got pretty dark for a while there, and when George invited me to come play, I had the idea that I wanted to champion the light comic Wild Cards story, which in practice meant my first story had a gang war, an abused hooker fleeing for her life from professional killers, and a recovering alcoholic priest. But, y'know, funny.
2) Tell us about the inspiration for your story for Inside
Straight.
When we were all talking about re-launching the series, I told George that I thought
the first words of the new book had to be "Who the fuck was Jetboy?" The idea being
that the new books were new. Anyone could come in and read them without having
touched the earlier volumes.
Well, he took me at my word, and so I pretty much had the start before I had anything
else.
I got the interstitial story, with means I was blessedly free of having to worry
about things like a character arc or a plot. My job was to be the mortar between
the bricks. I had an idea for a character that was essentially plucky comic relief
and the impulse to make him as contemporary and recognizable as possible. Then as
the book took shape, I got to do the connecting vignettes. It was a lot of fun.
3) What do you think gives the Wild Cards universe
the kind of longevity that it's had?
Wild Cards has a lot
going for it. As a culture, superheroes are our mythic figures.
Comic books are where our shared imagination gets to run
riot without the kind of smug post-modern irony we use to
apologize for being excited. Wild Cards gets to
dig into that, but it also answers the ways that comic book
heroes ring hollow. It's a world where people can walk through
walls and fly and deflect bullets, and it's also a place
with a lot of deeply injured, deeply flawed, recognizable
human beings. At its best, Wild Cards speaks to
both those things at once.
(RETURN TO THE TOP)
Q&A with Michael Cassutt
1. Tell us a little bit about yourself and your experience with Wild Cards.
Born in Minnesota, raised in Wisconsin, schooled in Arizona.? My father was a coach
and teacher, mother an English teacher who introduced me to SF.
Like most of the Wild Cards team, I am an SF writer who also loved comic books.
I had the great fortune to start reading them just as Marvel's 1960s Golden Age
commenced... AVENGERS #3 was my first. I was a huge fan of SPIDERMAN, HULK,
X-MEN and others. Occasionally I even lowered my standards to read D.C. books.
My first published works were SF stories, in such magazines
and anthologies as AMAZING, FANTASY & SCIENCE
FICTION, and UNIVERSE. I've also published five
novels, beginning with THE STAR COUNTRY in 1986,
and most recently, TANGO MIDNIGHT in 2003.
I have written a considerable amount of non-fiction, most of it dealing with
space flight -- three editions of a massive biographical encyclopedia, WHO'S
WHO IN SPACE, and collaborations with astronauts Deke Slayton and Tom Stafford
on their autobiographies (DEKE! and WE HAVE CAPTURE).
Most of my writing, however, has been for television, from the 1980s version of
THE TWILIGHT ZONE through MAX HEADROOM and EERIE, INDIANA and other genre (and
non-genre) series, most recently THE DEAD ZONE.
My association with WILD CARDS goes back twenty years -- I was not part of the
original discussions between George, Melinda, Walter Jon and the others, but
George and I became friends while working on TZ together in 1986. It was
George, no doubt influenced by my wit and way with words -- as well as the
fact that I showed him how to snake a studio?office out from under more senior
writers -- who encouraged me to develop a story for Volume IV, ACES ABROAD,
using my knowledge of espionage and the USSR.
Later stories, in DUECES DOWN and CARD SHARKS, grew out of my interest in space
flight.
So it was inevitable that a WILD CARDS book about a reality television series
would suit me.
2. Tell us about the inspiration behind your story for Inside Straight.
Stuntman is the type of young man -- Wild Card to one side -- that I
have seen for years in the entertainment business. He's bright, talented,
but frustrated at the way he is pigeon-holed. Throw in a little of my own
history with my father, the gifted athlete, and you have a character.
(RETURN TO THE TOP)
Q&A with S. L. Farrell
1. What do you think is the best quality of the new WILD CARDS triad?
I think the new writers in the series will bring a new attitude to the books.
The 'experienced' authors like George, Melinda, and John are used to working
with each other, and they all write terrific stories on their own. But now
there are new voices and new outlooks and new ideas tossed into the mix, too,
and I think that's a good thing. If WILD CARDS is going to make a new start,
it really needs to be a new start, in lots of ways. Inside Straight should be
accessible to anyone, without having to have read all the books that came
before it. If you have read those books, wonderful -- you'll catch some of the
references that new readers might miss -- but the long 'backstory' of the series
isn't necessary knowledge with the new triad.
2. Tell us about the inspiration behind your story for Inside Straight.
Drummer Boy is my son's fault. He's a drummer, and more than a bit obsessive about
it. As I was casting about for ideas for characters in the series, I thought about
him and wondered gee, what would happen if he were infected by the wild card virus.
And Michael Vogali (a.k.a. Drummer Boy) was born -- a joker/ace who is his own drumset.
Now, I hasten to add that my son does not?have DB's temperament or attitudes (nor is he in
such a successful band... yet...), but the genesis of the character is there.
?
As for the story, well, it's a coming-of-age story. ?I wanted to show DB -- who during the
AMERICAN HERO portion of the book is mostly an overgrown child -- having to deal with the
real world, not just the coddled fantasy of a rock star. ?He gets a pretty stern dose in
"Incidental Music..."
3. Do you see all your stories being "Drummer Boy" stories?
Well, there's never any guarantee in the WILD CARD universe that you'll get a story
in any particular volume -- you have to come up with a story that fits the overall
plot of the book and?that meshes with other writers' stories and characters. So
it may be that DB won't be in a good position to tell a tale in another book, or it
may be that my pitch won't connect with the other stories tightly enough, or that
other writers in the group will pitch stories to George that appeal to him more
than mine. But that said, I do have other characters in the universe who I'd
like the chance to explore as well. Barbara Baden (aka "The Translator") is one;
I think she could be a potentially very interesting (and important) character, if
I get the chance to use her as the protagonist. And I have a few other characters
in mind as well.
It's ultimately up to the readers: if they love the series, then the series will
continue -- and the more books we write, the more chance we have of giving those
characters their moment on the stage.
(RETURN TO THE TOP)
Q&A with Stephen Leigh
1. Tell us a little bit about yourself and your experience with Wild Cards.
While I wasn't one of the original gaming group that spawned WILD CARDS (tossing
dice from Cincinnati to Santa Fe was just impossible...), I was one of the initial
group of 'outside' writers that George contacted -- since he knew I ran a gaming
group, and he knew me from conventions as well as my books and short stories.
I put together several characters for the series, and had a story ("Strings") in
the first volume which introduced Senator Gregg Hartmann (aka "Puppetman") who
would be the character I used most through the first fifteen volumes of the
series. ?It's been a great learning experience: working with a fine and talented
group of writers, and with a ruthless and excellent editor in George (and an
equally ruthless and excellent assistant editor in Melinda).
It's been a lot of work, and occasionally some angst and hair-tearing, but it's
also been a terrific blast. ?
2. Your characters, such as Puppetman or Bloat, have been known to do some pretty
terrible things. Did you ever hesitate to write any of those scenes?
I never hesitated to write something horrific as long as it was in character for
the person doing it, and Puppetman especially did some vile and nasty things.
Part of being a writer is putting yourself in the mind of the character --
essentially role-playing the character -- and having them do what someone
with that mindset and with those life experiences and those abilities might
do... even if it's something you personally find repugnant and awful. I will
say that I didn't let my wife (who was at the time pregnant with our second
child) read the Puppetman sections in ACE IN THE HOLE because Gregg causes
his pregnant wife to fall down a set of stairs...
3. What's your favorite story of the one's you've written for WILD CARDS?
All of them.... OK, that's glib and not exactly true, but there is something
in each of them that I like very much. I have to say that I'm particularly
fond of "Promises" in DEUCES DOWN -- in that one, I deliberately set out to
write a story in which no one dies violently, one in which the emotions are
generally all positive. I really love the story that resulted. If I had to
pick one, maybe it would be that one.
(RETURN TO THE TOP)
Q&A with John Joseph Miller
1. Tell us a little bit about yourself and your experience with Wild Cards.
I was one of the original game players way back when, when Wild Cards was simply a
role playing game run by George, so I guess you can say I've been in it from the
beginning. I don't know if I've written more stories than anyone for the series,
but I've certainly written more words if you count the 100,000 or so I did for the
Steve Jackson role playing game and the 200,000 or so I'm currently doing for the
Green Ronin role playing game. It's a great universe to come back to and play in
because it's always growing and changing. I hope I'll be playing in it for many
years to come.
2. Tell us about the inspiration behind your story for Inside Straight.
This is a little difficult to answer specifically without giving away too much of
the story itself. Suffice it to say that I enjoy surprising the readers, and I
think this story will really surprise them with the fate of John Fortune. And
the next story will surprise them even more.
(RETURN TO THE TOP)
Q&A with Caroline L. Spector
1. Tell us a little bit about yourself and your experience with Wild Cards.
I come from a long line of circus folk. My parents were Mindy and Mac Muskatoni,
part of the famed Muskatoni family. Their act, Mindy and Mac and the Flaming
Chariot of Death, was a huge draw on the circuit for years. Until one day . . .
well, I don't like to talk about that.
I was sent to live with relatives after that terrible day and though they taught
me the ways of fire manipulation, I couldn't put my heart into it.
When I was an adult, I set out to make my way in the world as a writer. My family
said I was mad, that no one makes a living writing. They said I should stay in
the family business and make an honest living in the circus.
George RR Martin knew of my unfortunate history and generously asked if I would
like to audition for Wild Cards. I'm not certain if it was my character sketches
or my juggling demonstration of keeping fifteen blazing balls aloft that did it,
but I found myself in the Wild Cards family.
Though it has been difficult at times, my childhood experience at handling fire has
been put to good use and now, at last, I have a home.
2. Tell us about the inspiration behind your story for Inside Straight.
I got my idea for METAGAMES from a small bin in my office. Random story ideas
hound me night and day, and I put them there on the off-chance that they might
be useful one day. (Though it is difficult to keep them around as my husband
keeps mistaking them for the garbage.)
3. What do you find most fun or interesting?
Personally, I like mushrooms. They're
tasty, nutritious, and easy to prepare.
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Q&A with Ian Tregillis
1. Tell us a little bit about yourself and your experience with Wild Cards.
After finishing graduate school, I moved from Minneapolis to northern New Mexico to start a new job. Newly transplanted, and feeling more than a little isolated and culture shocked, I decided it was time to finally indulge my burning desire to write.
Little did I realize that New Mexico is the science fiction capital of the universe.
In 2005 I went off to the Clarion workshop, which changed my life. While there I had the good fortune to meet Walter Jon Williams, a long-time New Mexican. He invited me to join Critical Mass, a local group of science fiction and fantasy writers. So before I knew it, I was in a writing group with Walter, George Martin, Melinda Snodgrass, Daniel Abraham, Sage Walker, Vic Milan, John Miller... In other words, Wild Cards central.
After I'd been in the group a few months, Melinda asked if I'd be interested in talking with her and George about the new Wild Cards project. I jumped at the chance! A few weeks later, I met the man most people think is George R. R. Martin in a dimly-lit Santa Fe restaurant. I remember little of the evening; Melinda spiked my drink. Three days later, I woke in the cargo hold of a Dutch tramp steamer bound for Surabaya. I spent the next 87 days cowering from the captain's whip when I wasn't scrubbing the feet of sweaty, jowled Turkmen. On the 88th day I heard the dreaded click-thump, click-thump of George's artificial leg when he emerged from his gilded stateroom for the first time in three months.(The real George R. R. Martin walks on a stone leg carved from the tomb of Ramses II.)He loomed over me, adjusted his bejeweled eye patch, and said, "You got spirit, kid." Then he proceeded to explain the new Wild Cards project while the albino raven on his shoulder screeched obscenities at me.
2. Tell us about the inspiration behind your story for Inside Straight.
Wild Cards stories can be a little bit like laws and sausages... sometimes it's better not to know how they're made.
I wanted to tell a story about a good-hearted guy who is deeply misunderstood. How do you win people over when they've already decided you're despicable, and when you're too shy and inarticulate to argue otherwise? Also, I'm always fascinated by characters who make the difficult choice to do the Right Thing.
3. Ian, getting back to that tramp steamer for a moment, what could George Martin possibly do in that gilded stateroom for three months at a time?
His many appetites are too terrible to mention. The least shocking is his propensity for smashing Faberge eggs with a sledge hammer, an activity he carries out gleefully each vernal and autumnal equinox.
(RETURN TO THE TOP)
Q&A with Carrie Vaughn
1. Tell us a little bit about yourself and your experience with Wild Cards.
I started reading Wild Cards when I was in high school, around 1989, so I'm a fan
from way back. When I first met George and Melinda, I asked them to keep me in
mind when they put together the next Wild Cards project. Happily, they did, and
here I am.
It's been fun seeing the books from the other side, so to speak, and being part
of the process to put them together. I've gone back to some of the early books
to reread them and figure out how they were written, now that I know what the
process looks like. I just can't imagine doing it without email!
As for me, I've been writing just about my whole life and have four novels of my
own out, with more on the way, and over thirty short stories published. Wild Cards
is a great chance to play in another world for a while and work with lots of
really smart people.
2. Tell us about the inspiration behind your story for Inside Straight.
I must confess, the whole American Hero thing was my fault. In one of my character
proposals, as a throwaway line, I mentioned that the character was a runner up in
the first season of the reality show American Hero. Because I just know in the
Wild Cards world there'd be dozens of reality TV shows centered around wild carders.
(Who Wants to Marry a Millionaire Ace, anyone?) George didn't take the character,
but decided the reality TV idea was too good to relegate to backstory. My story
is mostly about the show. It's about a lot of other things, too. The friendship
between my two characters, Earth Witch and Curveball, became important.
(RETURN TO THE TOP)

Read Excerpt ||
Purchase
On Sale: 1/22/2008
ISBN-13: 978-0-7653-1781-0
ISBN-10: 0-7653-1781-8
Pages: 384
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Bag Lady is the first Wild Cards story ever written. Walter Jon Williams wrote it back in the early 80's, before the series had been sold. It was never published as part of the series for various reasons, but the full story can be found as the first edition of our hidden Lost Archives section. Simply enter your email on our sign up page and a link will be sent to you shortly. For those who would like a preview, an excerpt is provided below.
Click to Read a Preview of
Bag Lady by Walter Jon Williams
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He increased his speed till the wind turned to a roar in his ears. Infra-red receptors snapped on. The guns on his shoulders spun and fired test bursts at the sky. His radar quested out, touching rooftops, streets, air traffic, his machine mind comparing the radar images with those generated earlier, searching for discrepancies.
There seemed to be something wrong with the radar image of the Empire State Building. A large object was climbing up its side, and there seemed to be several small objects, about the size of people, orbiting the golden spire. The android altered course toward midtown and accelerated.
A forty-five-foot ape was climbing the building. Broken shackles hung from its wrists. A blonde woman screamed for help from one of the ape’s fists. Flying people rocketed around the creature, and by the time the android arrived the cloud of orbiting heroes had grown dense, spinning like electrons around a hairy, snarling nucleus. The air resounded with the sound of rockets, wings, force fields, propellers, eructations. Guns, wands, ray projectors, and less identifiable weapons were brandished in the direction of the ape. None were fired.
The ape, with a cretinous determination, continued to climb the building. Windows crackled as he drove his toes through them. Faint shrieks of alarm were heard with each crash.
The android matched speeds with a woman with talons, feathers, and a thirty-foot wingspan.
"The second goddam ape escape this year," she said. "Always he grabs a blonde and always he climbs the Empire State Building. Why a fucking blonde, I want to know?"
The android observed that the winged woman had lustrous brown hair. "Why isn't anyone doing anything?" he asked.
"If we shoot the ape, he might crush the girl, or drop her. Usually the godalmighty Great and Powerful fucking Turtle just pries the chimp's fingers apart and wafts the girl to the ground, and then we all cut loose. The ape regenerates, so we can't hurt him permanently. But the Turtle isn't here. He's probably shacked up with some bimbo in that shell of his."
"I think I see the problem now."
"Hey. By the way. What's wrong with your head?"
The android didn't answer. Instead, with a crackle, he turned on his insubstantiality flux-field. He altered course and swooped toward the ape. It growled at him, baring its teeth. The android smelled rank breath. He sailed into the middle of the hand that held the blonde girl, receiving an impressionist image of wild pale hair, tears, pleading blue eyes.
"Holy fuck," said the girl.
Modular Man rotated his insubstantial X-ray laser within the ape's hand and fired a full-strength burst down the length of its arm. The ape reacted as if stung, opening his hand. The blonde tumbled out. The ape's eyes widened in horror.
The android turned off his flux-field, seized the girl in his now-substantial arms, and flew away.
The ape's eyes grew even more terrified. It had escaped nine times in the last thirty years and by now it knew what to expect.
Behind him, as he flew, the android heard a barrage of explosions, crackles, shots, rockets, hissing rays, screams, thuds, and futile roars. There was a final quivering moan, and then the android’s radar detected the shadow of a long-armed giant tumbling down the façade of the skyscraper. There was a sizzle, and a net of cold blue flame appeared over Fifth Avenue; the ape fell into it, bounced once, and then was borne, unconscious and smoldering, toward its home at Central Park Zoo.
The android looked at the streets below for video cameras. He began to descend.
“Would you mind hovering for a little while?" the blonde said. "If you're going to land in front of the media, I'd like to fix my makeup first, okay?"
"Okay." He began to orbit above the cameras. They pointed up at him. He could see his reflection in their distant lenses.
"My name is Cyndi," the blonde said. "I'm an actress. I just got here from Minnesota a couple days ago. This might be my big break."
"Mine, too," said the android. She smiled at him. “By the way " he added, "I think the ape showed excellent taste."
"You're pretty good looking, yourself," she said. "But if you're gonna go on the stage, you'd better do something about that dome of yours."
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"Not bad, not bad," Travnicek mused, watching on his television at a tape of the android, after a brief interview with the press, rising into the heavens with Cyndi in his arms. He was particularly pleased with the android's deadpan announcement that his creator "had equipped me for this and other eventualities.”
He turned to his creation. "Why the fucking hell did you have your hands over your head the whole time?"
"My radar dome. I'm getting self-conscious. Everyone asks me what's wrong with my head."
"A blushingly self-conscious multi-purpose defensive attack system," Travnicek said. "Jesus Christ. Just what the world needs.”
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© 1998 by Walter Jon Williams
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