Ask the Author: G. Norman Lippert
Answered Questions (18)
G. Norman Lippert
I owe it to the incomparable C. S. Lewis to admit that the ending of JPHEC is a deliberate and willful retelling of the climax of Lewis' fantastic "That Hideous Strength", which is, itself, the culmination of his much more grown-up "Space Trilogy".
Those books are woefully less well-known than his Chronicles of Narnia, but, if anything, even more thought-provoking, engaging, and-- at times-- bone-chilling than anything found in the aforementioned series.
Go check it out!
Those books are woefully less well-known than his Chronicles of Narnia, but, if anything, even more thought-provoking, engaging, and-- at times-- bone-chilling than anything found in the aforementioned series.
Go check it out!
G. Norman Lippert
Ruins of Camelot absolutely has a sequel, in which teenage James disobeys his mother, Gabriella, and goes off to confront and defeat the last remaining eaters of the dead-- those terrible witches and wizards who feasted on the blood of the otherworldly unicorn and granted themselves immortality and unlimited power-- otherwise known as the original Death Eaters.
It's just that I haven't written it yet. Should I?
It's just that I haven't written it yet. Should I?
G. Norman Lippert
Thanks for the question, Carlos.
I have been immensely inspired by Angel Falls ever since I first encountered imagery of it. I have never seen it with my own eyes, but I hope to someday.
Similarly, though not to the same degree, I have always found New York's Chrysler building to be a uniquely beautiful and singularly artistic piece of urban architecture.
Thus, it just seemed natural to me to take advantage of the wizarding world and do something audacious and awe-inspiring: putting them together in the same place!
This scene is one of my top five when it comes to wanting to see them brought to life in film someday, should I ever be fortunate enough to see that happen.
I have been immensely inspired by Angel Falls ever since I first encountered imagery of it. I have never seen it with my own eyes, but I hope to someday.
Similarly, though not to the same degree, I have always found New York's Chrysler building to be a uniquely beautiful and singularly artistic piece of urban architecture.
Thus, it just seemed natural to me to take advantage of the wizarding world and do something audacious and awe-inspiring: putting them together in the same place!
This scene is one of my top five when it comes to wanting to see them brought to life in film someday, should I ever be fortunate enough to see that happen.
G. Norman Lippert
I absolutely do. I absolutely adore the original golden trio, and yet I feel an immense responsibility to write them not as they were when last we saw them, but as more mature characters, still familiar, but with the requisite number of years having evolved their personalities, honing and maturing their idiosyncrasies. I feel quite content with my representation of Harry, in particular. He is strong, yet sensitive. He is giving to James, Albus, and Lilly the parenting he never had, but so desperately yearned for. And in so doing he is redeeming his own childhood, and healing from the losses therein.
And yet most of all I felt an insurmountable compulsion to represent well-- yet believably-- the marriage of Ron and Hermione. They are so different. And clearly, so many of us were rooting for a Harry/Hermione pairing. I perceive that many readers, in the intervening years, have second-guessed their marriage, and predicted dire outcomes for them as a result.
I believe they are, in fact, a more than suitable pairing. I wanted to represent this. Thus, I allow them to show how their differences actually cement their devotion, rather than undermine it. Ron is the softening agent that conditions Hermione's rigidity, and Hermione gives structure to Ron's goofiness and inherent self doubt.
And yet, most of all, I wanted to show that, when the sticking point comes, all three of them are eager to work together, relying on their shared instinct and rock-solid history, to confront evil even now, just as they did back then, wherever it arises to threaten those they love.
And yet most of all I felt an insurmountable compulsion to represent well-- yet believably-- the marriage of Ron and Hermione. They are so different. And clearly, so many of us were rooting for a Harry/Hermione pairing. I perceive that many readers, in the intervening years, have second-guessed their marriage, and predicted dire outcomes for them as a result.
I believe they are, in fact, a more than suitable pairing. I wanted to represent this. Thus, I allow them to show how their differences actually cement their devotion, rather than undermine it. Ron is the softening agent that conditions Hermione's rigidity, and Hermione gives structure to Ron's goofiness and inherent self doubt.
And yet, most of all, I wanted to show that, when the sticking point comes, all three of them are eager to work together, relying on their shared instinct and rock-solid history, to confront evil even now, just as they did back then, wherever it arises to threaten those they love.
G. Norman Lippert
No indeed, and thanks for asking about Millie! She is a favourite (and underrated) character of mine as well.
Millie did indeed go off to America to study architecture (at Ilvermorny, rather than Alma Aleron, I am legally bound to admit) and while she dated several promising young men, she did not, in the end, marry any of them. As of now, she is still happily unmarried. Instead, she is committed to her career, designing and building new wizarding edifices all over the world. Her latest, the new wizarding world bank in the United Arab Emirates, upon which she is working under the tutelage of mastercraftsman dwarf designer Arlich Nikkabrick, will be, upon its completion, the deepest earthly structure ever completed, with floors reaching down to within 100 kilometers of the earth's mantel. On the surface it will be, of course, one story tall, and look like a muggle port-a-potty.
Millie did indeed go off to America to study architecture (at Ilvermorny, rather than Alma Aleron, I am legally bound to admit) and while she dated several promising young men, she did not, in the end, marry any of them. As of now, she is still happily unmarried. Instead, she is committed to her career, designing and building new wizarding edifices all over the world. Her latest, the new wizarding world bank in the United Arab Emirates, upon which she is working under the tutelage of mastercraftsman dwarf designer Arlich Nikkabrick, will be, upon its completion, the deepest earthly structure ever completed, with floors reaching down to within 100 kilometers of the earth's mantel. On the surface it will be, of course, one story tall, and look like a muggle port-a-potty.
G. Norman Lippert
I could never choose one. My favorites are pretty varied: George Orwel, Stephen King, C. S. Lewis, Terry Pratchett, Douglass Adams, to name a few.
G. Norman Lippert
I've given this a lot of thought. I suggest two things for all budding writers. The first is: write a lot, but don't fall too much in love with any one story. Write LOTS of stories. Short tales and epics, funny stuff and drama, dialogue and description. Write, write, write. If a story dies on the vine, switch to something else. Just keep writing. The only way to become excellent at something is to be willing to be mediocre at it for awhile first.
And the second thing: get it out there. Don't be afraid of self publishing. When you finish something, get it in front of readers. Family and friends, at least. Feedback is essential. If they say it's mediocre, then celebrate a victory! You've actually finished a story and had the guts to get some honest feedback! That's more than the majority of people who dream of being a writer. Then go back to the first thing: keep writing!
And the second thing: get it out there. Don't be afraid of self publishing. When you finish something, get it in front of readers. Family and friends, at least. Feedback is essential. If they say it's mediocre, then celebrate a victory! You've actually finished a story and had the guts to get some honest feedback! That's more than the majority of people who dream of being a writer. Then go back to the first thing: keep writing!
G. Norman Lippert
When I was a new writer, I adored writing long, sweeping descriptions but found dialogue immensely difficult. Somewhere along the way, that switched. I still enjoy description, but I work to keep it as quick and pithy as possible, getting right to the dialogue wherever I can. When the characters come to life and start believably interacting on the page, that's my absolute favorite part of writing.
G. Norman Lippert
I'm so glad you asked this question, Mika. Yes, I am a gigantic Terry Pratchett fan, and have definitely peppered the JP stories with references to his Discworld series. From James' owl (named for Corporal Nobby Nobbs) to flight instructor Cabriel Ridcully (a reference to the Archchancellor of Unseen University) to the myriad little details that connect the worlds, yes, the JP universe is unabashedly inspired by (and connected to) Pratchett's Discworld.
Perhaps a cross-over is in order someday? Perhaps Merlinus summons Rincewind via the Amsera Certh to take over the post of Defense Against the Dark Arts teacher?
Oh, now I can't not do that.
Perhaps a cross-over is in order someday? Perhaps Merlinus summons Rincewind via the Amsera Certh to take over the post of Defense Against the Dark Arts teacher?
Oh, now I can't not do that.
G. Norman Lippert
I am actually no good at producing ebooks. If anyone wants to undertake those tasks and submit the results to me, I shall happily upload them.
G. Norman Lippert
I found it in a dumpster in Knockturn Alley. Thanks to some graduate level Igors at Alma Aleron, it's mine now!
G. Norman Lippert
I didn't decide to come up with the JP series-- the story just came into my head. Very little about this series has been planned. It amazes me how everything always somehow comes together as the megaplot continues...
G. Norman Lippert
Hi Maique. Ask away.
G. Norman Lippert
Ms. Rowling has been kind enough to allow writers to use her characters in their related fiction so long as 1) the stories are appropriate for kids (mine is-- most fan fiction is decidedly not), 2) it is not attributed to her, and 3) it is not sold or published for profit.
Simple enough.
Simple enough.
G. Norman Lippert
Believe me, I'm a big believer that artists (of all kinds) should be able to get paid for their works. On the other hand, though, sometimes artists have to create just for the sheer joy of creating. If the story shows up at the door of imagination, we have to let it in, right? Even if it can't earn us a single knut. That's what makes an artist an artist.
G. Norman Lippert
Typically, I have made a concerted effort to keep up with the information that Ms. Rowling has released in the years since the last book (names of new family members, occupations of classic characters, etc) and incorporate it all into the JP stories. But as time goes by I don't feel especially beholden to new canon information. Here's why:
1) As the JP stories have developed, I have introduced a lot of new characters and elements into the Potterverse-- things like technomancy, the Progressive Element (which I "borrowed" heavily from C. S. Lewis), the lore of magical portraiture, Alma Aleron, etc. By necessity, none of these things will appear in Ms. Rowling's continuing canon, which means that it's inevitable that our storylines will diverge more and more with time.
And 2) I increasingly think of the JP stories not so much as canonical continuations of the original Harry Potter series, but as (I'm just going to say it) an alternate universe where details might be expected to diverge, leading to greater and greater differences over time. This is because, if I insist on complete canon (including all of Ms. Rowling's continued updates and new information) I will be enforcing some pretty rigid constraints on the James Potter storylines and megaplot.
To be succinct, the JP stories continue to be interesting to me (and tell me what you think, readers) because of where the diverge from the original tales, taking us into new possibilities and uncharted territories. This would become impossible if I remained firmly rooted only in Ms. Rowling's canon (wonderful and fertile as it is).
1) As the JP stories have developed, I have introduced a lot of new characters and elements into the Potterverse-- things like technomancy, the Progressive Element (which I "borrowed" heavily from C. S. Lewis), the lore of magical portraiture, Alma Aleron, etc. By necessity, none of these things will appear in Ms. Rowling's continuing canon, which means that it's inevitable that our storylines will diverge more and more with time.
And 2) I increasingly think of the JP stories not so much as canonical continuations of the original Harry Potter series, but as (I'm just going to say it) an alternate universe where details might be expected to diverge, leading to greater and greater differences over time. This is because, if I insist on complete canon (including all of Ms. Rowling's continued updates and new information) I will be enforcing some pretty rigid constraints on the James Potter storylines and megaplot.
To be succinct, the JP stories continue to be interesting to me (and tell me what you think, readers) because of where the diverge from the original tales, taking us into new possibilities and uncharted territories. This would become impossible if I remained firmly rooted only in Ms. Rowling's canon (wonderful and fertile as it is).
G. Norman Lippert
James Potter 5 is not yet out because (ahem!) it isn't yet written. It lives in my head, though, so... eventually? I'll keep you all updated.
G. Norman Lippert
I don't plan my books very much, actually. At least, not compared to other authors I know. My detractors would not be surprised to know that I approach each of my novels sort of like the most amateur hiker approaching a mountain-climb. I bring almost no gear, not much of a plan, and almost no intention other than to just get to the top of that mountain.
But I do make notes along the way. Here's what I keep track of as the story develops:
1) A character list. Just add names (and necessary characteristics) to it as I go.
2) A fluid plot outline.
It's that second one that really matters. The outline might start out as simple as (spoilers for those who haven't read "Hall of Elders' Crossing"!)
I. James discovers a plot to resurrect Merlin to start a war against the Muggles.
II.James fails interestingly to stop the plot.
III. Turns out Merlin is a decent bloke, and helps the good guys defeat the bad guys.
That's it. With that (maybe!) I start writing, just having fun with it, exploring, letting the characters do their thing. As I go, I'll add new details and steps to the plot outline ("Muggle reporter spying on Hogwarts! Why? Part of Merlin plot to reveal magical world!").
Eventually, though, I do reach a point where the outline has to be fleshed out a bit better-- all the elements need to be put in order and connected. This takes some time. But the important thing is that I DON'T do that until the story has gotten some momentum and developed a bit of it's own life.
Then, as I get back to the writing, I highlight the bits of the outline that I've written. That's just my way of noting that I've covered that bit so I know what needs to still be worked in.
That's it.
So, my general approach to writing can be summed up this way: a lot of people sit around the base of the mountain, planning their route, packing their gear, deciding what kind of tent they need for base-camp, hiring guides, and getting generally freaked out by that huge, imposing mountain towering over them.
Other people just start climbing and gather what they need as they go.
There is value to a happy medium between the two, but don't become the one sitting at the bottom, surrounded by gear, buried in planning, and terrified to begin the ascent.
But I do make notes along the way. Here's what I keep track of as the story develops:
1) A character list. Just add names (and necessary characteristics) to it as I go.
2) A fluid plot outline.
It's that second one that really matters. The outline might start out as simple as (spoilers for those who haven't read "Hall of Elders' Crossing"!)
I. James discovers a plot to resurrect Merlin to start a war against the Muggles.
II.James fails interestingly to stop the plot.
III. Turns out Merlin is a decent bloke, and helps the good guys defeat the bad guys.
That's it. With that (maybe!) I start writing, just having fun with it, exploring, letting the characters do their thing. As I go, I'll add new details and steps to the plot outline ("Muggle reporter spying on Hogwarts! Why? Part of Merlin plot to reveal magical world!").
Eventually, though, I do reach a point where the outline has to be fleshed out a bit better-- all the elements need to be put in order and connected. This takes some time. But the important thing is that I DON'T do that until the story has gotten some momentum and developed a bit of it's own life.
Then, as I get back to the writing, I highlight the bits of the outline that I've written. That's just my way of noting that I've covered that bit so I know what needs to still be worked in.
That's it.
So, my general approach to writing can be summed up this way: a lot of people sit around the base of the mountain, planning their route, packing their gear, deciding what kind of tent they need for base-camp, hiring guides, and getting generally freaked out by that huge, imposing mountain towering over them.
Other people just start climbing and gather what they need as they go.
There is value to a happy medium between the two, but don't become the one sitting at the bottom, surrounded by gear, buried in planning, and terrified to begin the ascent.
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