Kate Davenport
asked
Lois McMaster Bujold:
I think Penric is now one of my top male characters to have dinner with, right behind Cazaril and Peter Whimsey. And I would love to hear more about any/all of his adventures as they occur to you. But Bosha, Tanar and Adelis are the unresolved storyline that itches at me and makes me curious because I can't see a happy ending for them. Can you?
Lois McMaster Bujold
I can, but the route there is long and roundabout, and involves more Cedonian politics and time than I want to deal with right now. (Actually many potential routes, which doesn't make it easier.) Maybe someday. No promises.
And then there's Bosha's entire angsty backstory, which could be a novel in its own right, but a weird one. Also with a problem or six about a satisfactory ending. But yes, Surakos Bosha is certainly one of those characters who unexpectedly leap off the page.
Ta, L.
I can, but the route there is long and roundabout, and involves more Cedonian politics and time than I want to deal with right now. (Actually many potential routes, which doesn't make it easier.) Maybe someday. No promises.
And then there's Bosha's entire angsty backstory, which could be a novel in its own right, but a weird one. Also with a problem or six about a satisfactory ending. But yes, Surakos Bosha is certainly one of those characters who unexpectedly leap off the page.
Ta, L.
More Answered Questions
Richard Boothe
asked
Lois McMaster Bujold:
Dear Lois: As of June 2022, are you contemplating any new novellas set in universes besides the World of Five Gods, featuring Penric and Desdemona? Speaking of the latter, any idea how long it'll be before I need to dust off my 2nd-generation Kindle tablet? Have not read earlier Q&As yet, so you may have answered already.
Strangeattractor
asked
Lois McMaster Bujold:
What helps with figuring out how to tell a type of story that isn't told often? For example, when you were working on the Sharing Knife books and realized you had set up demographic and long-term problems that your characters would tackle in books 3 and 4, what helped you come to grips with how to do it? How did you bridge the gap between wanting to write a story with an unusual shape and actually doing it?
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