Some excerpts from our interview with author Gregory Maguire, which initially appeared in September’s State of the Thing.

Prolific American author Gregory Maguire is best known for his adept reimaginings of classic children’s tales, like Snow White, Cinderella, and The Wonderful Wizard of Oz. His latest work, Egg & Spoon follows the adventures of a princess and a peasant girl—along with a host of interesting and absurd companions—in their home country of early 20th century Russia.

Maguire’s passion for children’s literature extends beyond writing, into teaching, as well as co-founding Children’s Literature New England, a nonprofit devoted to promoting awareness of the significance of literature in children’s lives.

Loranne caught up with Gregory this month to talk writing, reading, and witches, particularly Baba Yaga, who appears in Egg & Spoon (released earlier this month).

For readers who haven’t had a chance to read Egg & Spoon yet, can you give us the nutshell version of the story?

Egg & Spoon—imagining a high-concept spin such as they parody in skits about Hollywood—is The Prince and the Pauper, except with girls, meets Frozen, except everything is melting instead of freezing.

This book has stories nested within each other, much like the iconic, and, here, ubiquitous matryoshka dolls. Why did you choose to structure the narrative that way?

One instance of maturation, I think, is when the innocent untried soul comes to appreciate other ways of being, other peoples’ needs. Nesting stories one inside the other is a way of making sure that the characters have to grate against one another, often uncomfortably, as they accommodate themselves to ways of being that are foreign, unsavory, or just weird. This is part of how children grow up (and part of why reading about situations other than those you know perfectly well already is such a joy and offers such benefit).

Your Baba Yaga is full of anachronism, whimsy, and life. I read that you were a big fan of the Baba Yaga stories that were published in Jack and Jill magazine when you were younger. What other sources did you draw upon in conjuring such a vivid and timeless character?

A friend who read the book recently said that Baba Yaga reminded her of Phyllis Diller. I am glad I didn’t think of that myself… Though your question puts me in mind of other grotesquely egocentric characters. I shall restrain myself only to characters in literature, not in the political sphere… Baba Yaga, as I see her now that you ask, is a little bit of Vicki Lawrence’s Mama in those Carol Burnett skits; and a little bit of Barbra Streisand being Dolly Levi; and maybe Madeline Kahn in Blazing Saddles; and certainly Miss Piggy. But this is a review of influences after the fact: the witch just spoke herself to me with wit, with lacerating antagonism and iconoclasm, and with the loopy disassociatedness of someone on the edge of a mild mental disorder.

Many adult readers know you as the man who brought The Wicked Witch of the West to life, and now you’ve given us a Baba Yaga who is many things, including relatable. What is it about witches that draws you to them as characters?

I mostly love the fact that because of their power and their insularity, witches don’t have to answer to anyone nor to fashion their behavior to suit the proprieties of their neighbors. I myself am hopelessly accommodating. This makes writing about witches both therapeutic and inspirational to me. The next time I get another request to give to a good cause I’ve already paupered myself over, I can think, “What would Baba Yaga do?” and behave accordingly. And then make plans to go into the Witness Protection Program.

Egg & Spoon is narrated by Brother Uri, an imprisoned monk who sees events unfold through the eyes of birds. Who or what inspired Brother Uri’s character?

Another friend who just read the book pointed out that “Uri” is the way you pronounce the final two syllables of the name “Gregory.” Brother Uri is selfish, myopic, anarchic, but his intentions are good. I myself have worn glasses since I was six.

The book is full of axiomatic statements that, I felt, really rang true—”That’s the beginning of heroism, the decision to try,” “Liberty is costly, but so glamorous,” for example. Are these based on things you believe, or are they more the product of the nature of the story?

What a good question! Axioms like the ones you mention—they all come from Brother Uri—are dependent on the story for their resonance. And yet, as the story itself and its meaning derive from me, I suppose you could make the case that these statements are things I do believe in, or I wouldn’t have conceived of the plot points that would make those statements ring true.

»For more from Gregory, check out our full interview here!

Some excerpts from our interview with author Ann Leckie, which initially appeared in September’s State of the Thing.

St. Louis, Missouri native Ann Leckie is a woman who’s worn many hats over time, among them that of waitress, receptionist, and recording engineer. She began writing short fiction a number of years ago, but it is was with her 2013 debut novel, Ancillary Justice, that she added award-winning author to that list. In August 2014, it became the first novel ever to win the Hugo Award, the Nebula Award, and the Arthur C. Clarke Award.

Loranne caught up with Ann this month to talk about the fascinating world she’s created, and new developments in the second installment of the Imperial Radch trilogy, Ancillary Sword (out October 7, 2014).

For our readers who haven’t yet had a chance to read Ancillary Sword, or its predecessor Ancillary Justice, can you give us the story in a nutshell?

Basically, the main character is the last remnant of a starship that’s been destroyed. She spends most of Ancillary Justice looking for revenge on the person who destroyed her, and in Ancillary Sword she is beginning to deal with the fallout of that revenge—including the very unexpected fact that she survived it.

I’m not sure there was a single thing. I spent a lot of time just playing with things, putting them together in different ways and seeing what they made, and eventually the world resulted from that process. Ancillaries—and the basic outlines of Justice of Toren’s fate—were pretty early in that process, though.

These are such fascinating books in terms of exploring identity and the self. In Ancillary Justice, we met protagonist Breq Mianaai (the solitary individual), One Esk (the single body as part of a whole military unit), and Justice of Toren (the ship itself) in all three incarnations. These latter two identities having been destroyed, it’s clear that, in Ancillary Sword, Breq is still grieving this massive loss. How did you find Breq continuing to grow as both a character and an individual in this novel?

Breq never did think she would survive the events of Ancillary Justice. I think for the twenty years leading up, it was as though she was walking on a broken leg. It didn’t matter much if it hurt, or if it got fixed, or if the injury got worse as she went along, because she had one thing to do and once she did it that would be it for her.

But having actually survived, and finding herself with a ship, and its crew, not to mention Seivarden’s clear loyalty to her, she has to find a way to navigate actually living a life, with people she isn’t just passing by on her way to some other ultimate goal.

Everyone in the Radch empire uses feminine pronouns to refer to other individuals. It’s a cultural distinction for the Radch: while it is clear that individuals present as one or the other of a gender binary, everyone is “she.” I read in another interview that you hadn’t originally planned this as you began writing Ancillary Justice. What led you to this decision, and did it present any challenges during the writing process? Did it change the way you viewed your own characters?

A number of things led me to my decision to use “she” for everyone. But basically, I had tried to write in this universe using all “he” and was really unsatisfied with the result. The more I thought about it, the more I decided that what I disliked was the way it reinforced the idea of a masculine default, and did nothing at all to make the world seem gender-neutral or uncaring about gender. It just made it sound like a world full of men, and how is that different from a zillion other science fiction stories?

Some time during the process of drafting Ancillary Justice I read Le Guin’s The Left Hand of Darkness, which features people who are ungendered, for whom she had decided to use the pronoun “he.” Later she wrote fiction set on the same world using “she” and the effect is quite different. That solidified in my mind my reasons for preferring “she” for Ancillary Justice.

It certainly did change how I viewed the characters. I had begun the very first draft assigning gender to characters and using “he” and “she” as appropriate. So characters from very early in the process were in fact assigned a gender—but as I rewrote them using “she” and as I got farther into the book, their gender and the way I visualized them began to slip around a bit in my mind, which I thought was interesting.

What was your favorite scene or character to write in Ancillary Sword?

Oh, gosh, that’s hard to say. There are several scenes that were high points during my writing, and many of them would be serious spoilers. Certainly I enjoyed writing Tisarwat, particularly the scene in Chapter 3, you know, that one. And Translator Dlique is a definite favorite of mine, she was very fun to write. And I definitely very much enjoyed writing the scene where, as you say, the chaos gets turned up to 11.

But very often, in general, I enjoy writing stress and mayhem. I remember while I was at Clarion West (which is a six week writers workshop in Seattle, you’re supposed to at least try to turn in a story a week, which is awfully fast paced for me) I was working on something particularly difficult and getting close to deadline, and I had gotten up early to try to get some work done. I came down to breakfast and everyone said, “Ann, you’re in such a good mood and it’s so early!” And I said, happily, “Oh, I just dismembered my protagonist!” And of course they were all writers so they understood exactly what I meant. (I eventually sold that story to Electric Velocipede, and it was reprinted recently by Tor.com, “Night’s Slow Poison,” and I’m still quite fond of that scene!) So with that in mind, you can probably pick out my favorite bits without my even naming them.

»For more from Ann, check out our full interview here!

Some excerpts from our interview with author Andy Weir, which initially appeared in August’s State of the Thing.

Andy Weir has spent the bulk of his career up to this point as a software engineer. The success of his debut novel, The Martian has been the result of a remarkable journey, and is very much deserved. It’s little wonder that the author identifies as a “lifelong space nerd.”

Tim caught up with Andy this month to talk science, space, writing, and more science!

Tell us what your novel is all about.

It’s about an astronaut who gets stranded on Mars (the rest of his crew thought he was dead). Now he has to survive with the equipment he has on-hand.

Definitely the science drove the plot. The problems he faced were real issues someone in that situation would face, and his solutions had to solve them. So those problems, and their solutions, are what moved the plot along.

The science is real, right?

As best as I could make it, yes. I put a lot of effort into scientific accuracy. I did a ton of research and math to work everything out. I’m sure I made some mistakes, but for the most part, the science is solid.

I gather you even wrote an orbital mechanics program to figure out certain details in the novel. I have to ask, are you insane?

Haha, maybe. But I wanted everything to fit right. So I wanted to know how long it would take to get there with a constantly accelerating ship and what path they’d take.

As I said, before, it’s a page turner. Did you have any models for the narrative?

I didn’t really have any model, per se. The story is very linear. Each problem needs a solution, and usually the solution causes the next problem. All I had to do was have Mark narrate the situation with a smart-ass tone of voice.

The Martian had an unusual path to publication—free, then self-published and finally picked up by a major publisher. What does that tell us about your book, or about publishing in general?

It’s pretty cool. It means any schmoe can break into the writing world on their own. Self-publishing an electronic edition of your book costs you nothing, and if people like it, you’ll do well.

»For more from Andy, check out our full interview here.