An Interview With Ian Benke
Focus on the characters. The most enticing worlds and deepest histories will still fade away when experienced through a poorly developed character. The people of your world, human or otherwise, are the tie between your reader and your story. Write from what you know. Incorporate the worst of people. Don’t be afraid to write a character you disagree with. But, friend or foe, they must be the life and focus of your story.
Science Fiction and Fantasy are hugely popular genres. What does it take for a writer today, to write compelling and successful Science Fiction and Fantasy stories? Authority Magazine started a new series called “How To Write Compelling Science Fiction and Fantasy Stories”. In this series we are talking to anyone who is a Science Fiction or Fantasy author, or an authority or expert on how to write compelling Science Fiction and Fantasy .
As a part of this series, I had the pleasure of interviewing Kaitlin Statz.
Kaitlin Statz is Co-Creator & Writer at Fool & Scholar Productions, one of the top independent creative content companies in the fiction podcasting space. Founded by Statz and her husband Travis Vengroff, the company is known for their top-notch production value and their award-winning podcast series, The White Vault starring 1883’s Eric Nelsen, VAST Horizon, Dark Dice starring Jeff Goldblum and the upcoming supernatural-thriller-mystery podcast Don’t Mind: Cruxmont starring Bridgerton’s Adjoa Andoh. Fool & Scholar Productions’ podcast series have won an impressive 32 Audio Verse Awards.
Thank you so much for joining us in this interview series! Before we dive into the main focus of our interview, our readers would love to “get to know you” a bit better. Can you share a story about what first drew you to writing over other forms of storytelling?
Writing is the base for many kinds of storytelling. Movies, video games, comics, podcasts; all these forms start with someone putting pen to paper, digital or otherwise. Even though I had been writing stories from a young age (scribbling poorly thought-out fairytales in notebooks on the bus ride home from school), my first time sitting down to write a story that others would get to enjoy, that was an act of love. I wanted to share time with my then-boyfriend now-husband, who is also a very creative person. So, to spend time together and feed our addiction to creation, I wrote my first sci-fi audio drama script, and he produced it.
You are a successful author. Which three character traits do you think were most instrumental to your success? Can you please share a story or example for each?
First, thank you for your kind words. This is an interesting question, as I don’t tend to think about myself as possessing particularly useful character traits.
I’m a very detail-oriented person, and for my work crafting scripts for audio, this is very useful. If I close my eyes, I can imagine the sounds I hear in everyday activities and translate this to words for my producer: the soft footsteps of rubber-soled shoes on hardwood, the scratch of the plastic chair pulled out from a table, the slight metallic clatter of utensils set down, or the ting of a full glass as it bumps against a plate. These details allow the soundscape to call forth the attention of the other senses.
I’m also rather strict on myself. While not always a good thing, it certainly helps to propel me forward. If I tell myself that I need to finish a script or series by the end of the month, odds are I will finish it, with long nights or lost weekends collected along the way. But this also means I tend to reward myself as well; a nice tea from the corner café, a long dog walk, or, in the case of a large project’s completion, a new board game or dinner out.
The last is perhaps the least appealing: pride. I want to look back on my work knowing it was the best I could do at the time. I want the people whose opinions matter to me to be proud of my work. I want to view my writing as an accomplishment, no matter the myriad of failures I had to accrue to get there. On more than one occasion I have deleted entire pages or scenes from my writing, unhappy and ashamed with the quality of the work. But that pride sends me back, more so than determination.
Can you tell us a bit about the interesting or exciting projects you are working on or wish to create? What are your goals for these projects?
I am currently wrapping up the story that propelled me into writing full time: ‘The White Vault’. As an audio drama, it has run for five seasons and reaches audiences across the globe. When this project began my goal was simple; tell the story, scare and entertain my listeners. I’m glad to know I have done just that.
I am currently working on a new set of stories, the first of which releases this Spring. ‘Don’t Mind Cruxmont’ combines mystery, modern science fiction, and horror. I hope to push listeners to consider their lives, their futures, and what they would give to maintain who they are. Often, I hear that my previous sci-fi show, the hard science fiction VAST Horizon, upset and discomforted many people, even those who genuinely enjoyed the story, and I hope that ‘Don’t Mind Cruxmont,’ while hitting a little closer to home, can similarly call up feelings of contemplation and worry.
Simply put, I aim to entertain: to create an escape, the little kinds that make a hard day a little better, even if it means replacing a real fear or worry with a fictional one for just a moment.
Wonderful. Let’s now shift to the main focus of our interview. Let’s begin with a basic definition so that all of us are on the same page. How do you define sci-fi or fantasy? How is it different from speculative fiction?
I did not study writing in any capacity, and I cannot fake it well enough to give an overly clever answer. Speculative fiction is the overarching genre that encompasses sci-fi, fantasy, historical fiction, and more. Fantasy and sci-fi appear as two faces of a die, though I don’t want to fathom how many faces that die has.
Sci-fi, as I see it, deals with possibilities for our future; the expansions of our knowledge, the advancement of our technology, the growth of our societies, and all the things, great and terrible, that come with it.
Fantasy concerns that which is outside of the realm of possibilities as we currently know and understand; magics, spirits, creatures, deities, and worlds wholly apart from our own.
Both can be truly escapist or allow us to examine the human condition from an acceptable distance. And it’s easy to see that line between them can also be blurred beyond recognition. They may not be exclusive.
It seems that despite countless changes in media and communication technologies, novels and written fiction always survive, and as the rate of change increases with technology, written sci-fi becomes more popular. Why do you think that is?
The need for an escape from reality will never die. The need for hope and inspiration are relentless forces, the kinds that can control and save lives. The simplicity of the written word in our increasingly literate world makes sci-fi stories, all kinds of stories about the future, even the depressing ones, open to those who need that bit of hope.
Concentrating on a story can be a dissociative experience: free from the daily norm, from our problems, and from the reality of the current world. Science fiction lets us look into the lives and futures of others, experience the heartache and love of others, and dissect our own mindset through the written experiences of the ‘other’.
In your opinion, what are the benefits to reading sci-fi, and how do they compare to watching sci-fi on film and television?
The theater of the mind is a powerful tool in audio, that, similarly to books, allows each listener to use their imagination to fill in many blanks within a story. It creates a very personal experience. As a reader or listener, you can grow this skill and strengthen your imagination.
There is nothing wrong with watching sci-fi on film or television. In fact, these are great ways to easily share and experience a sci-fi story with others. But the pace at which a mind consumes a story differs greatly when read, and that time allows for the individual to experience it in their own way.
Audio stories are similarly enduring, from a radio play to an audiobook, or a podcast. There is a personal connection between the listeners and the portrayal. Many listeners equate it to having characters whispering directly to them; a perceived closeness.
What authors and artists, dead or alive, inspired you to write?
I was inspired to write because I was looking for a hobby to share with my partner. We are both very creative and wanted to work on something together. He jokes that his terrible writing inspired me to find my voice. As most of my life before writing was spent in school of some kind, I actually had a very poor relationship with reading during my teenage years. But, as I began to start my career as a writer, I began to read a lot more.
My current library is largely a result of my upbringing. My greatest finds came straight from my father’s bookshelf. All the terribly boring books I had been forced to read in school were quickly dashed away by the sci-fi and fantasy classics I discovered at home.
I also want to recognize that while many of these authors created works that are celebrated, that does not mean they as people were in any way perfect; some were racist, sexist, classist, and/or followed other immoral ideas or mindsets, none of which I support.
My love of the dark and supernatural was kindled by fairy tales from across the world, the origins of ‘don’t go into the woods at night’, and those stories of fears passed down through generations. For namable authors, I am inspired by the works of H. P. Lovecraft and M. R. James. I am particularly drawn to James’ work, as he wrote many of his stories with the intention of having them read aloud. I eagerly consumed Edgar Rice Burroughs’ Barsoom series, which spans both sci-fi and fantasy. I also join many others in that I have gotten lost in the great works of Tolkien. I read The Hobbit as a child and waited until my mid-twenties to read The Lord of the Rings. It was a phenomenal experience that, while it did not inspire me to begin writing, has helped me pass the many hurdles in my continuing life as a writer.
I also grew up playing video games, another great storytelling delivery system. Video games allow the player to have input into the fictional experience, which can be far more impactful for some people than others. Diving into worlds like Sid Meier’s Alpha Centauri at a young age or going through high school alongside the expansive galaxy of the Mass Effect franchise, let me have a hand in sci-fi long before I wrote a word of it.
If you could ask your favourite Science Fiction and Fantasy author a question, what would it be?
I don’t tend to pick favorites, and I don’t believe I would ask a question but instead extend my thanks. Everyone I’ve mentioned has impacted countless lives, and their works and those inspired by their works will impact countless more. For me, for the life I’ve built for myself out of writing, their inspiration means so much, and I will be forever grateful.
We’d like to learn more about your writing. How would you describe yourself as an author? Can you please share a specific passage that you think exemplifies your style?
I enjoy writing intelligent characters and leading them into difficult situations. I enjoy playing with hope and fear. I enjoy writing tenacious women, building layers and complexity, and framing stories on information gathered slowly over time. And, as my listeners have come to know, I’m not afraid to kill my characters. Therefore, I’d describe myself as a straightforward, methodical writer.
While I know that some creatives are blessed with great bolts of inspiration, I am more likely to piece together a new story or idea from research and media consumption. I am a ‘plotter’, in that I plot out my worlds and stories far ahead of writing them, going so far as to color-code my hand-written notes.
As for a passage that exemplifies my style, as I write mostly for audio production, I will instead share an excerpt from the first season of my sci-fi podcast, VAST Horizon. In this scene written in 2019, Dr. Nolira Jiang-Antwi, an agronomist of the Technocracy, is relaxing at home when she receives an upsetting late-night visit from her sister, Constance. (Here I have presented the highlighted sections, written and performed in Mandarin, in English.)
[a small beep, clack of heavy metal, a creaky hinge, clatter of her climbing in, a creaky hinge, clack of heavy metal]
[Nolira –straining to lift the door] The suits are in here, right?
[A.I.] Yes. They are located in the receptacle on your left.
[small metal locker opens]
[Nolira –growing more fearful, winded] I’ve only ever done the Emergency EVA training…
[pause]
[A.I.] Your heart rate and pulse are currently rising outside the normal range. Did you over exert yourself during the run?
[Nolira –breathing quickly, quiet panic] No, just looking out the window… I can’t go out there. I’ll never make it. Where would I even go?
[A.I.] If your intention is to switch the Nursery to emergency sustenance and maintain the potential viability –
[Nolira — panicked] You’re not listening to me! [near tears] I can’t do this… it’s just big empty space out there. How am I even going to reach where I am going? [heavy breaths, crying] If I’m the only one left, no one can pull me back in, no one can help me!
[A.I.] I will help you. You are working very hard to do something you feel is right. I am sorry that you face so much emotional discomfort.
[Nolira –crying] Thank you… this is all for the embryos… [loud sniffing] This isn’t for me… shit. [deep breaths, calming self] Let’s go! What do I do?
[A.I.] Please don the suit and prepare yourself to exit the hull.
[shuffling as she begins to don the gear]
[Nolira –voice shaky, confused] How do I know if I’ve done it right? Or if the systems are working? Before I put this all on…
[A.I.] To check the systems and tanks attached to your chosen suit, please press the TEST indicator on the readout. When prompted, select which tank and system to assess, or run LAUNCH ASSESSMENT.
[small light beep, followed by several positive beeps]
[Nolira –apprehensive, distressed] Um… breath… all clear? In the clear? And propulsion… so, we’re… I’m fine. [staggered exhale] I should be fine.
[A.I.] Your heart rate continues to increase. Do you require assistance? Medical crew is currently unavailable to assist you.
[Nolira –distressed] I know. [staggered exhale] No, I’m fine, just…terrified.
[A.I.] I have a selection of calming music proven to help reduce anxiety. Would you like me to play some for you?
[Nolira –nervous, slight laugh] Sure. Thank you.
[Light music begins to play]
[Nolira –apprehensive, frightened] So, I just… go out there?
[A.I.] I have temporarily disabled all emergency auxiliary lights in the second wing of the Bifrost except for those with external windows near Hull Access Port 2–9–2. That is the closest Hull Access Port to the Nursery. Using the propulsion system of the suit, you must pilot yourself toward the lights to locate the Hull Access Port. Do you require information on how to re-enter the External Hull Access Port?
[Nolira, taking deep breaths] No. [pause] It’s written here on the hatch.
[long pause with music]
[A.I.] Do you require more information before departing?
[Nolira –annoyed, distressed] No! Just… thinking… Helmet on…
[Sound becomes closer, and we can hear Nolira’s heavy breathing, but the music also continues, a seal clicks into place, heavy metal squeaks and a fast rush of air, then nothing but her breathing and the light music]
[Nolira –through small tears] And out…
[long pause, we can hear Nolira trying to control her breathing]
[Nolira –slightly pleading] A.I.?
[A.I.] How may I assist you, Nolira?
[Nolira –frightened] Thank you for putting the lights on, it’s helpful.
Based on your own experience and success, what are the “Five Things You Need To Write Compelling Science Fiction and Fantasy Stories?” If you can, please share a story or example for each.
I will keep this very simple, as I want others to know first and foremost that a fancy degree or expensive courses are not required to be a writer. Years ago, when I began to whole-heartily pursue writing, I would read how-to books and walls of text with examples and references I had never encountered and think to myself ‘I have no right to be an author’. To this day, I struggle with these feelings. But, looking back, writing can be very simple; an expression of your ideas, hopes, and fears. And while practice certainly helps, time and a pen are all you really need. So, five simple and achievable goals to help write compelling science fiction and fantasy stories:
- Focus on the characters. The most enticing worlds and deepest histories will still fade away when experienced through a poorly developed character. The people of your world, human or otherwise, are the tie between your reader and your story. Write from what you know. Incorporate the worst of people. Don’t be afraid to write a character you disagree with. But, friend or foe, they must be the life and focus of your story.
- Advancing technologies (or magics in the case of some fantasy stories), have impacts you could personally never imagine. Each individual is constrained by their knowledge set and biases. Think about the early speculative fictions that arose from nuclear armament: in the US where it was viewed primarily as a scores of power, ‘nuclear experimentation’ became the origin story of many heroes. But in Japan, where the view of nuclear weapons was understandable devastating, the famed terror Godzilla was a metaphor for the tragedy of Hiroshima. So, when creating a world with specific magic or technological advancements, approach others you trust outside of your knowledge set or local bias for their ideas on how it would impact your story or world.
- Be consistent. Don’t attempt to mimic someone else’s writing style (though this can be a good writing exercise), instead, find your own style, pace, and cadence. By finding your own style early on, you can find it easier to focus on the story itself and less on the physical and mental tax of writing.
- I won’t tell you to start small or big, in the middle or at the end; just start with what you can. If you’re compelled to write about the history of your world before you can even begin to put down a story, do it. If the whole of your world springs up around a character as you move through their life, great. Don’t let thinking there is ‘one right way’ stop you.
- Find power in your edits. First drafts are wholly able to come out as complete garbage. I know. I’ve done it. I’ve trashed whole sentences, paragraphs, pages, and scenes. I’ve had whole story ideas that I swore were fantastic, only to wake up the next day to laugh at myself. There’s no harm in scratching through what’s holding you back. Become pals with your red pen. Find a friend willing to give constructive criticism (a rare and valuable talent). Be willing to accept that your interpretation of your own fictional world could be wrong and be strong enough to try again.
We are very blessed that some of the biggest names in Entertainment, Business, VC funding, and Sports read this column. Is there a person in the world, or in the US, with whom you would love to have a private breakfast or lunch, and why? He or she might just see this, especially if we both tag them 🙂
Arnold Schwarzenegger, I’d happily buy you a radler or three.
How can our readers further follow your work online?
A list of my works is available on my website, www.statzink.com, or at the website of my production company, www.foolandscholar.com. I am not overly active on social media personally, but I do run many of my shows’ Twitter and Instagram pages. My newest story, Don’t Mind Cruxmont, will release this Spring on all major podcast apps.
Thank you for these excellent insights, and we greatly appreciate the time you spent. We wish you continued success.
Kaitlin Statz On How To Create Compelling Science Fiction and Fantasy Stories was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.