Why have you removed all online references to "Flame Trilogy" and "Flame Series" and now refer only to two duologies, "The Hidden Flame" and "The Rising Flame"?
Orignally I used the term "trilogy" when I wasn't expecting to write a fourth book. The Flame novels now are now described as two duologies rather than a series because Defender of the Flame and its sequel Herald of the Flame are a separate story that has a different hero from the two preceding books and takes place 200 years later; it doesn't depend on having read them. Each duology should be read in order (though both Promise and Herald can stand alone), but the only disadvantage to starting with the second one is that the included backstory would spoil some of the suspense of the earlier books if you plan to read them all. And few readers want to start with a book labeled No. 3 or No. 4 in a series. Also, it's generally impossible to get reviewers to read a book that is not the first in its series, and I need reviews of the later books.
I am hoping that readers to whom Stewards of the Flame didn't appeal will try the Rising Flame duology, which is in many ways quite different from Stewards of the Flame. Adults who enjoyed my earlier novels Enchantress from the Stars and The Far Side of Evil may be especially interested in some of the ideas in Defender and Herald, even if they don't want to read Stewards. I have found that readers who disagreed with the controversial view of medical issues expressed in that book, or who felt it was slow-moving, often like Defender better.
What makes these novels inappropriate for middle-school readers?
Please read Why My Flame Novels Aren't Suitable for Kids.
Why did you publish these books yourself?
Because publishers of adult fiction demand that it be strictly categorized by genre, and these novels don’t fit genre marketing requirements. Since they’re set in the future on other planets, they’re considered science fiction--yet like my YA novels, they appeal more to general audiences than to those with extensive science fiction background. They're not action-adventure stories and yet they're not far enough removed from today's reality in terms of the culture and concepts portrayed to be suitable for mass-market sf paperback lines. (For the same reason, my YA novels were never reprinted in that form, though most other successful YA science fiction has been.) In any case I want my books to reach people who don't usually read science fiction as well as those who do. At my age, I feel it’s unlikely that marketing criteria will change during my lifetime. So I decided to make use of my desktop-publishing skills.
That said, a lot of science fiction fans have liked Stewards of the Flame and they may like the other three novels even better since they deal with topics and events more typical of science fiction. The problem is simply that in order to to be accepted by a genre publisher nowadays, a book must be expected to sell to mass audiences within that genre, not just to a subset of its readers. Also, fiction sales depend heavily on "name" and my name is known only in the YA field, which from the marketing standpoint is entirely separate.
If Stewards of the Flame won a 2008 bronze IPPY medal, why isn't it listed among the science fiction IPPY award winners for that year?
Because it won in the Visionary Fiction category. According to one website I stumbled across, "Visionary fiction is fiction in which the expansion of the human mind drives the plot." It states, "Visionary fiction is not science fiction, yet if a skeptic needs “scientific proof” of the reality of the visionary landscape, it can be connected to the new neural sciences -- neuro-biology, neuro-psychology, neuro-physics. All visionary fiction is driven by new and uncanny experiences (mystical, spiritual and paranormal) in the neural web. The new sciences have shown us over the last three decades how vast and limitless is the increasing power of the human mind. As in so many eras of human life, where our science goes our literature follows. A new genre is developing, one that parallels the new neural sciences, and helps to chart the vastly uncharted human mind."
This description excited me because I thought I'd at last found a genre into which my novel might fit; certainly it deals with some of the topics listed at the site, such as telepathy and other psi powers. However, it didn't seem to catch on and was often confused with "New Age" type fiction with a somewhat different conception of the paranormal from mine, so I stopped using the term in marketing. Recently a Visionary Fiction Alliance has arisen and I'm hoping this will prove to have a broader focus.
Why are there two trade paperback editions of Stewards of the Flame with different ISBNs, and what's the difference between them?
The ISBN of the original edition belongs to BookSurge, a Print-on-Demand company, so it could not be used when I switched to a different POD company, CreateSpace. I wanted to get my own ISBNs and I wanted to reformat Stewards to match Promise of the Flame (they are slightly smaller and easier to hold than the original edition, have wider page margins, and are printed on off-white paper.) Also, I corrected minor errors and added a reading group discussion guide. The text is otherwise the same.
The 2007 edition lists BookSurge as the publisher; the 2009 edition lists Ad Stellae Books. Also, the lettering on the cover of the new edition is larger and includes "A novel" (the original cover could be confused with nonfiction by people who saw it without a description). If you care about a uniform format with Promise, be sure to check with the seller--both listings will remain at Amazon.com because there are used copies in circulation, and people who list used books are not always careful about matching ISBNs.
Why did you switch POD publishers?
At the time, it was mainly because it allowed me to lower the price of the book and thus attract more readers, and to offer a better discount to libraries and bookstores. Since then BookSurge has been merged with CreateSpace, which is owned by Amazon.
What is "Ad Stellae Books"?
It is my personal imprint, not a publishing company. It's best for self-published authors who provide the actual PDF files that are printed to get their own ISBNs instead of using ISBNs belonging to a POD company, which will then be listed as the publisher even if it has not designed the book and has not been paid to publish it. Also, if a book is issued under a POD company ISBN, the same ISBN cannot be used if the author switches to a different printer. When Stewards was first published it was not possible to get one's own ISBN without buying a whole block of them. Now it is, but a name must be listed in "Books in Print" as the publisher. Ad Stellae Books is the imprint I chose. It was originally intended only for my own books, but I have now used it on my mother's ebooks, and temporarily for some ebooks of my friend Shirley Rousseau Murphy, whose website I maintain and for whom I produced the ebook files.
Unfortunately, however, it has turned out that my current POD company, for reasons I cannot understand, will not list books in the distribution catalog used by libraries unless they are issued under its own ISBNs. I have therefore been forced to reissue some of my books with new ISBNs that don't show my personal imprint. This is one reason I published the omnibus editions of the Flame duologies in paperback when they were initially available only in ebook form.
Why aren't these books in more public libraries?
Because most libraries have a policy against buying books that are not reviewed by the major review media, and there is no way to get a review in any of the major media without submitting galleys months in advance of publication (and even then, they rarely review self-published books). Also, most libraries will not buy books unavailable from their regular distributors. I sent many review copies of Stewards to public libraries, asking them to consider the copy a donation even if they chose not to buy more, but only a few put it into their collections. I suspect they do not have staff available to look at unsolicited books, even if by authors whose YA books they already have.
There is one way to get a book into a library, however, and that's for a local patron to submit a request for it. If anyone reading this will do so I will be deeply grateful! Also, if anyone wants a copy to donate to a library, I will sell it to you at half price--but you must personally give it to a librarian and say something about it; if it's merely put in a donation barrel it will be sold at a used book sale. Also, the Smashwords ebook editions of my books have recently become available at no charge to libraries through OverDrive, a system that provides books to libraries; but since Smashwords offers thousands of titles, libraries don't realize mine can be obtained there. I would greatly appreciate help in making them aware of it.
Some people think that authors aren't eager for their books to be in libraries for fear that it would cut into sales of personal copies. That isn't true. Being in libraries is the best publicity a book can have. The more people read a book, the better known it becomes, whereas if nobody has a chance to see it, it sells few copies to people not already familiar with the author's work.
Why was there a long period when the ebook editions of the Flame duologies were unavailable anywhere except at Amazon.com?
Because Amazon demands the exclusive right to distribute them if they are made available for free borrowing by subscribers to Kindle Unlimited. Also, Amazon promotes ebooks exclusively available there, so that they are seen by many people who would not otherwise know they exist. I don't approve of this policy since I don't believe any retailer should have the sole right to sell a book, but I felt forced to accept it in order to get new readers. For awhile more people read these novels through Kindle Unlimited (under which authors are paid by the number of pages read) than were buying them from other retailers. However, not enough did so to justify limiting their distribution..
The characters in the two Flame duologies have many of the same abilities as those in your YA books. Was this intentional?
Yes. My original idea for the novels was to explore how, and why, a civilization might begin to move from the present level of ours to the level of Elana's people in my YA novels Enchantress from the Stars and The Far Side of Evil, who had very advanced psi powers. The two groups are set in the same SF "universe," although the new books deal with colonies of Earth. (For more detail about this, see the Afterword to Defender of the Flame, which in early copies appeared as a Preface). It is never said in any of the books whether Elana lived at the time of our ancestors or our descendants; either assumption will fit.
How much do you personally believe of what's said in the story about paranormal capabilities?
A lot of it, though some of the capabilities the characters have are obviously exaggerated and are intended more as symbols than as predictions of what may become possible. I literally believe everything I've said about unconscious telepathy. The degree to which conscious control of it may someday be attained, I don't know. It probably will never be expressed the way it's written in words, as dialogue; that's a necessary literary device. Be sure to read the page at this site with background information about psi.
In both Stewards of the Flame and Defender of the Flame, the protagonists fall in love very quickly without enough time to get to know each other. Isn't this unreasonable?
My assumption is that because they are telepathic, they know each other's personalities very well through unspoken and sometimes unconscious communication. Telepathy is an instantaneous mode of perception; it doesn't take the time ordinarily required to gain familiary with someone. In addition, in both stories the man and woman have been without partners for some time due to circumstances, and are eager for a caring relationship.
In the past everything you've written has focused on the importance of the space effort. Why have you now turned to other themes?
In the past, I have rarely expressed myself publicly on any topic except space -- and this was deliberate, since I believe that expanding beyond our single world is essential to the survival of our species, and that developing a permanent presence in space is therefore the most important issue humankind needs to deal with. It is a nonpartisan issue, and I haven't wanted to let my opinions on other subjects distract people from what I say about it, or to drive half my potential readers away because my political views don't match theirs.
However, I have been writing about space for more than 40 years and I have reached the age where I'm increasingly aware that I don't have a great many years left to put off presenting ideas about other issues I care about. Moreover, space colonization is a premise of the two Flame duologies in a larger sense than the plot preventing them from being set on Earth. To turn to "inner space" before making sufficient effort to spread into outer space, as some people advocate, would be self-defeating, since colonization of space is necessary to our long-term survival. Thus at the stage where advanced psi powers become widespread, there will necessarily be many colonized worlds; the mere assumption that the two developments are inseparable is in line with what I've been saying all along.
What do you think of the Affordable Care Act?
It increases government intrusion into health care decisions, so if
you've read Stewards of the Flame you don't need to ask! I will say in general, though, that society can never provide medical care to everyone who really needs it as long as so much money is being spent on unecessary -- and often even harmful -- treatment for those who do not. This is something nobody on either side of the argument about health care reform has recognized. Please read the background information pages dealing with overtreatment and compulsory medical care. Also, I strongly recommend the recent nonfiction book Overtreated: Why Too Much Medicine Is Making Us Sicker and Poorer by Shannon Brownlee, along with several other more recent ones listed there.