When you look at a lot of science fiction novels they’re asking questions about power. There are questions about what it means to have power and what are the long-term consequences of power. When you think about the Dune novels—the original Dune novels start out as this Machiavellian fix-up—the battle between these houses—but they turn out to be a very troubling meditation on what it means to take over an entire civilization and set it on a certain path.

[Wards of Faerie] is the first in a trilogy that I have been thinking about for quite a bit of time. It’s in the future of the Shannara world, not in the prehistory where I have been working. It is a direct sequel to the High Druid set of books, and it’s about a topic that has been discussed ever since I wrote Elfstones back in the day—1982 or whatever it was when it was published—about the Elfstones themselves, which were forged in the ancient world of Faerie before humans, and nobody knows what happened to them.

[Blue Remembered Earth] is a big departure for me. It’s my attempt to get back to something a little bit closer to the present in terms of the way I think about science fiction. So it’s a novel which looks at where we might be in a hundred and fifty years in terms of going out into the solar system, going back to the moon and Mars, but also looking at the Earth, the kind of trends that we might expect to see over the next century and a half on our own planet—things like artificial intelligence, genetic engineering, and ubiquitous surveillance technology.

I do try to separate my personal activism—showing up at a demonstration or something—from what I write. I don’t write tracts, I write novels. I’m not a preacher, I’m a fiction writer. I get a lot of moral guidance from reading novels, so I guess I expect my novels to offer some moral guidance, but they’re not blueprints for action, ever.

If ETs want to contact new tech races, they’re not likely to waste time and resources on gigantic beacons. They’ll know the thousand—or ten thousand, or fifty thousand—life worlds around them that have oxygen atmospheres. But the odds that any one of those has a shiny new civilization will be very small, at any one time. So they’ll just send a ping to each of them, once every hundred years—or maybe once a year—saying, “Is there anybody there yet?” Because that’s cheap to do.

We have some of the best writers in science fiction and fantasy today that we’ve ever had in the genre. That said, one of the things is that when you have people who are really engaged on the literary side of writing, as many of our current really excellent writers are, there is a question of how approachable it is to someone who is just coming fresh into the field.

In order to come up with the Kellis-Amberlee virus, I read enough books on viruses to qualify for some kind of horrible extra credit program, audited a bunch of courses at UC Berkeley and at the California Academy of Sciences, and then started phoning the CDC persistently and asking them horrible questions.

The two things I postulated that I think make [my new novel] workable as a realistic kind of fantasia are space elevators on Earth and self-replicating machinery, and these are two supposedly possible engineering feats that are discussed in the literature, so they’re not physically impossible. They might be hard engineering feats, but it seems like they could be done, and there are even companies working on at least the space elevator.

The idea of Mister Fitz, who’s a puppet who is also a sorcerer, I’m sure comes from the fact that my mother made papier-mâché puppets when I was a child, and in particular one year she made puppets of all the Moomintroll characters, and put on a show of Moominland Midwinter for me for my birthday party.

Because there isn’t just one flavor of parallel universe—there’s a version that comes out of quantum mechanics, there’s a version that comes out of cosmology, a version that comes out of string theory, and so forth. But one thing that they do share is it’s pretty tough, if not impossible, to go from one universe to another in any of these versions—in any conventional notion of what it would mean to travel from one universe to another.