We are rapidly closing in on the release date for Acts of War: Aftershock, and this week, Mike Ryan, publications director for Privateer Press, interviewed me about writing the book. So, here’s Mike’s interview questions and my answers.
MR: How do you feel the relationship between Stryker and Magnus changes in Aftershock compared to where they were in Flashpoint?
AR: The book begins with the two of them reluctantly accepting they must be in each other’s lives (and way). Magnus has accepted his demotion to major and Stryker has done what he can to get Magnus out of his hair while still trying to get some use out of him. Stryker doesn’t trust Magnus at all, and Magnus believes Stryker is an idealist, which, in his opinion, makes for a poor leader. Not exactly a great place to build trust and cooperation, you know?
As events in the book unfold, an understanding develops between the two. They must face facts: sometimes the other guy’s approach is the correct one. This is a bitter pill to swallow, but it does create a foundation where they can work together for the good of Cygnar.
MR: The introduction of Ashlynn d’Elyse to the novel adds a new element to the series, yet she is not exactly eager to work with our heroes. How did you approach getting into her character?
AR: Ashlynn blames Cygnar, at least in part, for the fall of Llael during Khador’s initial invasion. Though Cygnar had good reason to withdraw its forces—their own territories had become vulnerable—they left what remained of the Llaelese military in a bad way, all but assuring a Khadoran victory.
Now, Cygnar has marched back into Llael to “liberate” the country and place the long lost heir of King Rynnard di la Martyn on the throne, an, heir, mind you, that is currently betrothed to the new king of Cygnar. To Ashlynn, this simply looks like a power play, like a young king trying to expand his territory through a combination of political marriage and military strength. When the book begins, it’s difficult for her to see Stryker’s force as little more than another invading army, and, hey, who could blame her?
That’s where I started with Ashlynn. She’s angry, bitter even, that her country has become an arm-wrestling match between Khador and Cygnar. She’s been fighting tooth and nail to keep the Resistance going and kindle what hope remains to the Llaelese people. She’s seen friends and family die, had to make alliances that could prove disastrous in the future, and she’s running out of men and resources. Of all the characters in the book, she has the most to lose and few reasons to trust those claiming to be her allies. That anger drives her in a lot of ways, pushes her to keep fighting even when it seems hopeless, and our heroes have a lot to prove if they want to win her as an ally.
MR: Readers who are fans of Khador are going to be pleased to see their faction well represented in Aftershock. What are the challenges of shifting to the Khadoran point of view in a book that is focused on Cygnarans as the heroes?
AR: The main challenge is to present them as antagonists but not necessarily villains. Khadoran leaders like Supreme Kommandant Gurvaldt Irusk and Assault Kommander Oleg Strakhov are not evil men; they’re not the monstrous inhuman horrors that run the show for Cryx or Legion. It was important to make sure they came across as soldiers first, men whose loyalty to their country is just as fierce as our Cygnaran heroes. Of course, from the Cygnaran point of view, the Khadorans take actions that are villainous or even cruel, but when we jump into the Khadoran POV, you see a different perspective, one that makes these action justified and even necessary from a Khadoran viewpoint.
MR: You clearly enjoy writing battle scenes–they are among the very best scenes in the book. How do you choreograph a big battle compared to an individual one-on-one fight?
AR: I do like writing battle scenes, especially in the Iron Kingdoms. I mean, you got multi-ton warjacks duking it out, warcaster flinging spells and steel, not to mention armies clashing in battles of truly epic scope. In other words, there’s a lot to work with.
The one-on-one duels are like chess matches, where each fighter matches wits and skill against the other, looking for the tiniest opening to exploit, or, in the case of Ashlynn d’Elyse, just straight-up owning anyone dumb enough to cross swords with her. These battles are almost always from a single POV, and the characters’ personalities, backgrounds, and, of course training dictate a how they fight. Here, I tend to get more detailed with specific techniques, weapons and armor, and how these things affect the outcome of the duel.
In a big battle, there is always an element of chaos. It might be controlled chaos, and the generals and leaders of clashing armies are certainly looking for tactical advantages to exploit, but with so many men and machines on the field, no one can see or know everything that is happening. When I write big battle scenes, I like to jump from POV to POV, both to get a varied sense of how the battle is going, and to use those quick cuts to highlight that element of chaos and the vast scope of the conflict.
MR: What was the writing process like for you in working on Aftershock? Did you find yourself re-reading Flashpoint to get back into the groove?
The first draft for this one went quicker than the first draft for Flashpoint, and I think a lot of that had to do with how much I needed to establish in the first book. Here, I hit the ground running and got right into the action, right into the meat of the overarching plot for the trilogy.
I reread Flashpoint in its entirety before I started writing Aftershock, just to get into the right headspace, and I always had a copy open while I was working on the new book. I referred to Flashpoint constantly, both as a refresher on the events that led up to Aftershock and to make sure the continuity between both books was correct.
MR: Do you have a favorite scene, a favorite moment, in Aftershock that you are particularly pleased with?
As much as I enjoyed writing the battle scenes, it’s the quieter, character-driven moments that stand out for me. There’s a number of them that come to mind, but I don’t want to give away too many spoilers, so, first, I’ll point to one that’s already spoiled. The return of Sebastian Harrow, where he slithers into the ranks of the Resistance as a spy for Irusk, is one of my favorite moments, and you can read it right here on this blog. There’s no action in this scene, but the gravity of what’s happening, and, of course, the foreshadowing is huge.
Another scene I like quite a bit is the initial meeting between Asheth Magnus, as a representative of the Cygnaran army, and Ashlynn d’Elyse. These two have actually never met in the fiction before and know each other only by reputation, so it was a lot of fun to write that historic scene. This is largely a conversation, but with two legendary warcasters and a fairly tense situation, it’s more than a little dangerous, especially for Magnus, who finds himself at a rare disadvantage.
If you have any additional questions about the book, fire away in the comments section below. I’ll answer as best I can.
If you’ve missed any of the Aftershock articles and updates for the previous weeks, you can find them right here:
|Week 1 Update||Week 8 Update||Week 15 Update||Week 22 Update|
|Week 2 Update||Week 9 Update||Week 16 Update||Week 23 Update|
|Week 3 Update||Week 10 Update||Week 17 Update||Week 24 Update|
|Week 4 Update||Week 11 Update||Week 18 Update||Week 25 Update|
|Week 5 Update||Week 12 Update||Week 19 Update||Week 26 Update|
|Week 6 Update||Week 13 Update||Week 20 Update|
|Week 7 Update||Week 14 Update||Week 21 Update|
Acts of War: Aftershock is available for preorder in print and digital from Amazon, and you can buy and read the first book in the series, Acts of War: Flashpoint, right now.