Kisha

Kisha asked Greg Van Eekhout:

In Boy at the End of the World, travels a huuuuuuge amount of distance in what seems a short period of time. How do you rationalize that in your head? Or, if you want to be writerly about it, how did that come about in your writing process? Did it just happen or did you consciously choose to ignore that? Or do I just suck as a reader and missed that this was occurring over huge amounts of time?

Greg Van Eekhout I did some research on long-distance walking journeys and found out you can make a cross-country trek on foot in a matter of months. The journey actually does take place over period of months, which I tried to indicate by changing seasons, but I probably could have done a better job of emphasizing that. One criticism I commonly get is that my pacing is fast and sometimes rushed, but I'm dreadfully averse to dragging plots, and that becomes a danger in stories about long journeys.

More Answered Questions

A Goodreads user

A Goodreads user asked Greg Van Eekhout:

Tell me about the dragons, George!!

Haddayr

Haddayr asked Greg Van Eekhout:

How do you approach your adult fiction as opposed for that for kids? I certainly notice a difference in tone, and I'm guessing there are some things you can't do in one or the other for marketing reasons, but I guess what I mean is literally how you approach it? Mindsetwise. "I just write what I wanna" is obviously an acceptable answer, but it will make me have a sad.

Carly

Carly asked Greg Van Eekhout:

I loved California Bones, especially the detailed magical system. Gearing up for Pacific Fire, I've got a random question. Daniel's dad says magic "transcends" the First Law, but the story treats it as nonrenewable. What happens when the osteomancer uses magic? Is it converted into energy or conserved? Also, where does a golem's osteomancy come from, since it sounds like golems innately contain (edible) magic?

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Greg Van Eekhout

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