“What drives me is the thought of a reader curled up in an armchair or lying in bed, enjoying a story I’ve penned—escaping to a world I’ve created.”

– Robert A. Walker

Disclaimer: The views and experiences shared in this interview reflect the personal journey and opinions of the author. While themes of moral dilemmas and relationships are discussed, readers are reminded that interpretations of these topics are subjective and fictionalized for storytelling purposes. For factual or professional advice, please consult relevant experts.

Robert A. Walker, multi-award-winning author of Six Moons, Seven Gods and Spotlyts Story Award winner Two Crowns, Three Blades, crafts narratives that transport readers into immersive worlds. His storytelling invites readers to explore the realms he creates. In this interview, Walker discusses his inspirations, writing journey, and the elements that shape his fantasy novels.

Hi Robert, thank you so much for joining us today. To start off, can you introduce yourself, share a bit about your background, what drives you as a writer, and what you hope to achieve with your stories?

My father was a professional editor, so I guess an affection for the written word has always been in my blood. My second-grade teacher read a short story I wrote to my entire class when I was 7, and I was so, so proud. Talk about inspiration! I’ve been wanting to write novels ever since, but my career path took me in other directions. Although it required lots of writing and editing, it’s only since retirement that I’ve found sufficient time to write extensively for pleasure. What drives me is the thought of a reader curled up in an armchair or lying in bed, enjoying a story I’ve penned–escaping to a world I’ve created. I’m hoping they’ll be entertained, perhaps driven to tears or laughter, and that they’ll finish the story wanting more.

You’ve been recognised with multiple prestigious awards for your novels Two Crowns, Three Blades and Six Moons, Seven Gods. What do these recognitions mean to you personally, and how do they influence your approach to writing?

While I’m writing, I’m fairly confident in my ability to distinguish good work from bad. That is, I know when I’ve written a passage that doesn’t measure up as opposed to something that’s pleasant to the ear. But one can write a thousand decent paragraphs and still fall short of a good story with interesting characters and a compelling plot. So when I finish a novel, no matter how I’ve felt about it during the course of writing, there’s always a certain amount of insecurity and self-doubt that can only be erased by positive feedback from unbiased reviews–from folks who know the craft and understand what readers are looking for. Awards are a welcome affirmation that what I’ve created is worth reading and likely to entertain at least a certain segment of readers. They inspire me to stay the course and to keep writing!

Your books are known for their immersive worlds and intricate characters. What inspires your world-building, and how do you make sure your fantasy realms feel both fantastical and relatable to readers?

The relationship between the fantastical and the familiar is a true balancing act—one that’s constantly being performed in the back of my mind as I write. I look to plot and world building to satisfy the innovation side. I don’t want to take a tired story and simply refresh it with new characters, and the world building needs to be sufficient to allow the reader an entertaining escape from their reality. But, and this is the challenge for me, both plot and world building need to be believable—that is, somehow grounded in the reader’s own reality. Because that’s what allows the reader to really immerse themselves in the experience, and invest themselves in the characters and their story. I’m not criticizing heavy magic, which often allows a character to escape dire predicaments suddenly and with little explanation. There’s an audience for that; it’s just not mine. My father was one of my beta readers. He digested each chapter of Six Moons as soon as it was drafted. Midway through the novel, he said to me, “I really like this Marie Dunn character and her ability to see into the future, but before the story ends, you’d better explain what enables her to do that—and it better be good—because otherwise I’m going to be dissatisfied.” That feedback caused me a good number of sleepless nights, but it was also the genesis of euphoria, The Sisters of Systalene, and the background to Madam Dunn’s unusual ability. Credit where credit is due: Much of the inspiration for the world of Baelon came from beta readers who kept pushing me to describe in ever greater detail its unique environment and attributes. This was my first foray into world building, and they helped me to appreciate its immense potential. Now I find it quite enjoyable and a great way to embellish my stories.

Themes of revenge, love, and sacrifice play a central role in your work. How do you approach these themes, and what do you hope readers will take away from them in both Two Crowns, Three Blades and Six Moons, Seven Gods?

I’m writing to entertain readers of fantasy–readers who want to be transported to unfamiliar worlds—so much of what I create is designed to be foreign and original, perhaps even bizarre. I’m purposely leading them into the unknown. At the same time, I don’t want them to get lost. Universal themes like revenge, love and sacrifice—or friendship, power, and loss–are important because they act as familiar beacons in that new world. By sharing their thoughts and emotions, my characters reach out to take the hand of the reader and welcome them to a world that isn’t entirely foreign. This helps answer the previous question as well—even a new form of friendship or loyalty in a fantasy world is going to resonate with readers. That’s the beauty of universal themes; they are, by definition, familiar to and understood by all. Exploring them when writing novels is like creating music using familiar major chords that will resonate with all listeners.

What’s been the most rewarding moment in your writing career so far, and how has it shaped your development as an author?

This is going to sound a little corny, but honestly, my most rewarding moment came before my first book was ever published. I’d just finished the final draft of Six Moons, Seven Gods, and given it to my father, a professional editor, for his review. He was always so blunt and honest in his critiques of my work; even as a child, the stuff I wrote came back from him plastered with red marks. So it’s hard to describe how rewarding it was to hear him pronounce, “It’s better than a lot of stuff for sale.” Unfortunately, my father died six months prior to its publication. He would love to have seen it sitting in the local bookshop’s window.

Living along the Pacific Ocean offers such a unique perspective. How does your environment influence your writing, and does it show up in the landscapes or atmosphere in your books?

I’m not sure why, but the sea has a definite calming effect on me, even on those days when the waters are rough and angry. I’ve lived within a couple of hours drive of either the Atlantic or Pacific Ocean nearly my entire life, so some of that may just be familiarity. But whatever the reason, seeing that vast body of water outside my window comforts me and allows the ink to flow more freely. I hadn’t really given it much thought, but I suppose it’s no accident that the world of Baelon is an island surrounded by the Mersal and Spirit Seas. At the same time, the ocean’s depth and vastness frighten me. And that definitely shows up in Overseer Reynard Rascall’s description of a sea-faring ship: “A bowl made out of wooden pieces, bound together how? With bedsheets strapped to skinny sticks, reliant on fair winds to help it move, but just as likely to meet heavy gales or be rocked by angry seas, or both? Floating in an endless soup you could never swim across—if you could swim, mind you—a soup seasoned with the stench of fish and the vomit of sea travelers; a soup so deep you cannot see the bottom, or the rocks just below its surface, waiting to crack the little wooden bowl in two! All this to say nothing of the creatures living in that soup, just waiting for the ship to sink so that they might get to know you better…”

Balancing action and emotional depth is crucial in fantasy writing. How do you manage to create high-stakes moments while still ensuring that your characters’ emotions resonate with readers?

I think that all starts with character development. If one’s readers aren’t invested in a character—if they don’t care what happens to him or her, or can’t relate to his or her emotions—then there won’t be any high-stakes moments, regardless of how well those scenes are written. It’s only when a reader buys into a character’s emotions and motivations that the creation of high-stakes becomes possible. Once you have a character that readers love or hate or sympathize with, the action becomes that much more interesting and important to the reader. The best way to create high-stakes moments is to ensure your characters have depth!

Your stories often explore the complexities of relationships and moral dilemmas. How do you develop these themes, and do any reflect your own personal experiences or values?

I spend more time developing my characters than I do complex relationships or moral dilemmas. That’s not to say the latter are unimportant; in fact, they’re critical to my stories. And I do look for opportunities to create and nurture them. But in a magical way, it’s often the characters themselves that develop the story’s important relationships and moral dilemmas. In Six Moons, Seven Gods, I didn’t really see the romance between Sibil Dunn and Tristan Godfrey coming. It wasn’t preconceived or part of any plot outline. But as the book’s main characters developed, I found the relationship between Sibil and the Godfrey twins becoming so close and personal, that it seemed only natural for some sort of romantic connection to be considered, if not realized. The more that began to take shape, the further back in time I went to plant the seeds of what would blossom into a mutual but unprofessed love between two of those characters. Nor did I plan on Marshal Carson’s reaction to a key character’s murder. But given his loyalty to the king and crown, and his established relationship with the victim, the moral dilemma that ensued upon his discovery of the killer’s identity pretty much wrote itself. And yes, a number of the book’s themes are based on my life’s experiences. On some level, I suppose everything one writes is at least partially rooted in one’s personal background, whether that’s from something observed, learned, or experienced directly. After decades of living, though, those roots are deep, fibrous, and intricately intertwined, so not every creative thought is easily traced to its origins.

As an author who has received recognition for both Two Crowns, Three Blades and Six Moons, Seven Gods, what direction do you see your future works taking? Are there any specific themes or new ideas you’re eager to explore?

Nothing in particular springs to mind. First and foremost, I owe it to those entertained by The Legends of Baelon to finish that series, so I’m pretty focused on that at the moment. Once that’s accomplished, I’ll step back and take some time to think about what’s next.

For aspiring writers who look up to your success, what advice would you give them? Reflecting on your own journey, what’s one lesson you wish you’d known when you started out?

Writing’s a journey, and not all of it is easy or scenic. Don’t look too far ahead. Focus on your passion and the here and now. Write, write, write, and enjoy the travelling, one step at a time. Had I known early on what it takes to be published—all the work involved in getting one’s book into the hands of readers—I might never have finished my first novel, let alone started it. I was so naïve to think that, you know, if you write something worthwhile, someone’s going to want to publish it and people will then read it. Simple, right? The truth, of course, is so much more complex and challenging, regardless of whether you are trying to secure the representation of a traditional publishing firm, or you have decided to self-publish. Unless your intended audience is limited to friends and family, finishing your novel (quite the accomplishment in and of itself) is only half the battle. So my advice is to take it slowly and enjoy the journey—don’t peek too soon or too closely behind the publishing world’s thick curtain lest that cause you to turn back. Tackled one issue at a time, none of it as overwhelming or intimidating as the big picture first appears; there’s lots of support out there, and if you persevere, all those little challenges just make reaching your destination that much more rewarding. Carry on!

“Take it slowly and enjoy the journey—tackled one issue at a time, none of it is as overwhelming or intimidating as the big picture first appears.”

– Robert A. Walker

Links

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