Last time we got to know a little bit about who Matt is. Today, were looking to get a further insight into “Matt the writer”.
What was the first thing you ever wrote? Was it a school assignment or something you did on your free time?
Do you mean as a story? It was probably “Food Wars”, a Star Wars parody I wrote in 4th grade. I won a prize for it, and it was, I think, the first time I realized that there might be something to this writing well thing.
You told us you always wanted to be a writer. But when the moment came, did you need someone else uttering “You are a writer.” or did you know it already?
I don’t think that being a writer is a matter of knowing it so much as wanting to do it. I never needed anyone to tell me to write or create or whatever. It’s wonderful to have validation for it after the fact, but the fun of it comes in the work itself.
In 1989, you edited and wrote selections of White Dwarf Magazine (issues #119-123), with emphasis on the two Space Hulk articles. Until then you hadn’t had anything published.
Seeing your words printed for the public to read was an incentive to write more outside the game world?
Actually, the first thing I had in print was a short piece in Polyhedron #9, the newsletter for TSR’s Roleplaying Gamers Association (RPGA). I’d submitted this gadget for a contest for their Top Secret spies roleplaying game, and it came in as first runner-up.
This came out way back in 1982, when I was fourteen years old. I didn’t get paid a dime for it, but it thrilled me to my core. It’s probably the reason I took up writing for RPGs long before I turned my hand to fiction.
In most places the short story “Crocodilopolis”, which was part of the “Strange Tales From the Nile Empire”anthology, from West End Books in 1992, appears as your first published fiction piece.
Would you change anything about it?
Probably, but I wouldn’t. I’m a different person now than when I wrote that story, and I had a wonderful time working on it. Legendary game designer Greg Gorden was my editor on that, and he taught me a lot about the differences between great fiction and great games as I wrote it. I still treasure that lesson to this day.
You now have a more than 25 books available online and these are just the ones on your website, not even counting your participations in anthologies.
Between the fiction and nonfiction do the numbers speak for themselves or would you like to venture more into the nonfiction genre?
I’m probably a bad self-promoter in this way, but I haven’t gotten around to listing all of my books on my site. I’m usually more concerned with doing the work than telling people about it. At the moment, I have 27 novels published, several nonfiction books, and countless games and gaming books.
I enjoy writing nonfiction, as it scratches a different creative itch for me. I had a ball revising The Marvel Encyclopedia for 2014, for instance, and I’m proud of how well it’s selling. Over the Thanksgiving weekend, it hit #5 in all books on Amazon, and just this week, it became my first book to ever crack a Best Sellers list in the New York Times.
The majority of your work has been deemed YA. Do you believe in genres to describe books or do you think we could ditch those labels?
Actually, most of my work is for adults, although I try to write things that people of many ages can read. I’ve written five or six books for younger readers, but the vast majority of my fiction—especially my own original material—fits into the genre category and is mostly read by adults.
All that said, I think J. K. Rowling obliterated the meaning of the YA label, and bully for her. We shouldn’t be afraid to read good stories, no matter if they’re meant for people younger than us or not. As for other genre labels, they serve a purpose for marketing, but creators shouldn’t feel constrained by them. Great stories transcend such things.
There seems to be a dystopian quality to the stories you tell. Do you agree with that?
Maybe. I tend to favor stories with a dark streak through them, and that’s most obvious in books like my Brave New World dystopian superheroes series. Partly that’s because my tastes run that way, but I also find it easier to produce dramatic situations in darker worlds—or at least ones that I find most interesting.
Your work has been translated into 13 languages, which obviously means you have a global fan base. Does that influence your writing in any way?
Not really. I don’t have any control over the translations in the sense that I can’t read them once they’re published. I can’t tell the translator that they’re doing it wrong. I can only cheer them on and hope for the best.
Your body of work has inspired many to approach you to adapt your narratives into other mediums.
Your book series Brave New World: Revolution is being adapted into a TV series. What are most looking for in this project?
Actually, that’s been optioned for a film, but it’s in limbo at the moment while the producers pursue other projects and try to ramp up for the kind of budget a dark supers film needs. I’ve also sold film options for both Amortals and Vegas Knights, though, and I have high hopes for those. I’ve even read a first draft of the script for Amortals, and I’d love to see that book on the silver screen.
The Shotguns & Sorcery book series is going to be turned into an RPG by us, here at Outland Entertainment.
What can you tell new readers about this series?
It’s a fantasy noir series in the sense of what maybe Raymond Chandler or James Ellroy would write if they’d been inspired by J. R. R. Tolkien. It’s set in Dragon City, a metropolis ruled over by the Dragon Emperor, an autocrat who protects his people from the ravening hordes of zombies roaming outside the city’s walls—but at a price.
Is there a favorite character you really enjoyed writing?
Max Gibson is the hero of the story, and he’s my favorite by far, which is good because I spent a lot of time in his head. I love a lot of the others too: Yabair (the sneering elf captain of the Imperial Dragon’s Guard), Kai (the gun-toting orc pal with poor impulse control), Moira (the addicted halfling who can’t ever seem to keep out of trouble), and many more.
And how about a special scene or chapter?
I think the opening chapter of “Friends Like These” nails the feeling of the world like a stake through a vampire’s heart. It’s full of world-weary heroes, treachery among friends, and jackbooted thugs, and it’s just what I wanted.
It’s also the first fiction I ever wrote for Shotguns & Sorcery, so it has a special place in my heart.
Perhaps not coincidentally, all backers of the Shotguns & Sorcery RPG Kickstarter get this story for free.
The whole world is set in this fantasy noir environment. What led you to that creative choice?
I grew up reading both Chandler and Tolkien. I love epic fantasy and its amazing worlds, but the grittiness of noir always grabbed me harder. This was my chance to come up with my own cocktail from two of my favorite ingredients. I did my best to make sure it packs a punch.
Besides the series of projects already mentioned on your website, can you give us a small peek at the writing ones under the cryptic slot “all sorts of secret things in various stages of conception or completion”?…
I have lots of projects in the works at any given time, but I also sign many non-disclosure agreements (NDAs) with the people and publishers I’m working with. Giving details about those projects before they’re ready to go would be cheating them of their chance to make the biggest splashes.
That said, I do have a science-fiction tie-in novel I’ve been working on that should be announced soon. Stay tuned.
Thank you! And we will talk to you soon to find out a little bit more about your work on the games industry!