Michael Stackpole, The New World

Question: What do you spend way too much money on?

MS: I spend way too much money on books about magic and equipment to do tricks—since I'll never perform magic. I once thought magic might be something to do in retirement, but I've realized that a) I'll never retire and b) it will be much more fun to get hired on by a cruise line to be a dancing partner for their guests. Free food, lots of dancing, and you get to see the world. Can't really beat that.

Brian W. Aldiss, Harm

Question: Three of your works have been adapted for film: the shortstory “Supertoys Last All Summer Long” as Spielberg’s A.I.; the novel Frankenstein Unbound as Roger Corman’s movie of the same name, and Brothers of the Head, also given eponymous movie treatment. Have you been pleased with these adaptations? Which is your favorite? And are there any more films in the works?

BA: When you sell a written something-or-other to Hollywood, you should accept that a translation must be made. You have no power over this transformation. Hence the old saying, “Take the money and run.” I didn’t run. My family and I went to stay in Bellagio on the shores of Lake Como in Italy, to watch the filming. Roger Corman was a genial and generous host. Most of the film, shot in a local palazzo, looks beautiful. There is much to be said for Frankenstein Unbound.

I worked with Stanley Kubrick on Supertoys, but wanted us to create a new modern myth. Kubrick was set on Pinocchio, whereas I could not accept the Blue Fairy (the mere name gave me the whim-whams) or the notion of David somehow becoming a real boy. In the end, Stanley had to kick me out. I don’t regret that semi-collaboration; it is a privilege to work with a genius, even a genius in decay. But much of the screenplay of what became A.I. is illogical and vulgar.

For sheer noise, Brothers of the Head beats them all, but holds many fascinations. This company, Marlin Films, with its remarkable screenwriter, Tony Grisoni, have made mocumentaries before. The book of Brothers is written in mocumentary style, and thus was comparatively easy to transform to film in like fashion. Not believing in God–a weird idea–I always worry about his imitation, an omniscient narrator in books; so that Brothers is written, like the later White Mars, by various witnesses. And where did that strategy originate? You can find it in R.L. Stevenson’s Dr. Jekyll & Mr. Hyde.

Sarah A. Hoyt, Draw One in the Dark

Question: Who do you consider your influences?

SH: I’ve been accused of sounding like Heinlein, possibly because as a lonely, bookish child, I grew up IN his books. There is a reason I named my first born after him. But I’d be amazed if there wasn’t some Clifford Simak and Poul Anderson in there, too. And then of course there were Dave Drake, and Harry Turtledove, and Terry Pratchett, F. Paul Wilson, Diana Wynne Jones and all the people I read now. I’m sure some of their style has fallen in the pot, too... As has doubtless a bunch of others. I’m sadly addicted to print and always on the look out for stuff to learn.