SIMON Brown started writing fiction every day at the age of 14, which means he’s been a writer for more than 40 years. He’s had six novels published in Russia, which means his brag shelf has books he’s written that he can’t read. He currently lives in Thailand with his wife, who is an English teacher in Phuket, and his two school-age children.
PanMacmillan, under their Momentum imprint, have just released e-book versions of his previous fantasy trilogy, the Chronicles of Kydan. He’s working on three different books – a young adult/crossover horror, the first book in a new fantasy trilogy and a non-fiction book – because he can’t make up his mind which one to concentrate on.
You’ve been living overseas for the past few years. Grist for the writer’s mill or one huge distraction?
Living overseas is a great way to concentrate the mind on what you’ve left behind, at least initially. After four years in Thailand, I find that some of the things about living in a different country and a different culture are finally starting to get under my skin and become a part of me. It’s a nice feeling. But when I look up and towards the horizon, it’s always towards Australia. I think my time here in Thailand will start seeping into my work about the time I come home. That’s the way of things.
Momentum has re-released one of your series as e-books. What’s been happening to let readers know they’re available?
Mark Harding at Momentum Books has been great at getting the Chronicles of Kydan some attention. It was recently one of the books of the week on Google Play, for example, and the Momentum site has a piece by me on writing the trilogy. Gillian Polack has also kindly let me blog about the trilogy on her site. I just have to save up for an e-book reader now so I can download them myself. Imagine carrying hundreds of books in your pocket. Weird.
Can you tell us more about what’s inspired the latest projects?
The young adult/crossover horror novel, based on a short story I wrote called ‘Water Babies’ (published in Agog! Smashing Stories), is currently with a publisher, so until I get word back it’s difficult to say where it’s going.
The idea for the new fantasy trilogy I’m working on was inspired by reading about the importance of trade in ancient and medieval societies, something usually ignored in most fantasies. Since it’s just kicking off, I’m not sure how it’ll pan out at this point, but I’m enjoying booting ideas around.
The non-fiction book I hope to co-author with a good friend who is also a great writer is about the development of quantum theory. The book will concentrate on the Fifth Solvay Conferencein 1927, which featured an amazing array of scientists who were also larger-than-life personalities.
What Australian works have you loved recently?
I’m ashamed to say that I’ve been so detached from the Australian scene over the past four years that I’ve read very little home-grown fiction. I did manage to read and enjoy the first book of Sean and Garth’s Troubletwisters and Scott Westerfeld‘s Leviathan (we’re allowed to poach Scott, aren’t we? (definitely: his snapshot his here — JN).
What have been some of the biggest changes in Australian speculative fiction (or the industry?) in the past two years since Aussiecon 4?
Difficult to assess from a distance, but surely the big development not just over the past two years but the past decade has been the increase in the number of Australian specfic writers and the quality of their work. I think Clarion South has a lot to do with this (and by implication Clarion South’s organisers), as well as the continued and it seems to me against-all-odds existence of short fiction markets such as Aurealis and Andromeda Spaceways Inflight Magazine.
The other big change has been the slow but inevitable move in Australia from ink to phosphor dot and LED, including e-books and online magazines. We’ll have to wait a year or 10 before properly assessing what effects this has had on writers and writing. If I’m still around, feel free to ask me again in 2022.