My main concern was to write a novel that uses all of this stuff that is accessible, to write a novel that deals with white racism and Chinese American history and the real Chinese fairy tales and the heroic tradition, and to demonstrate that a Chinese American could do all of this without sending whites up the wall or alienating anybody…

As the new work fills my notebooks, I've come to realize that the characters in my stories were so real because I really did want to get close to people, I really did want to know them. It was just easier to do it on paper, one step removed.

When writing a novel a writer should create living people; people not characters. A character is a caricature.

Racial history lays so heavily on black people – slavery, migration, racism. But I don’t want my characters to be hidden by that…

We tried to make our characters as human and empathetic as possible. Instead of merely emphasizing their super feats, we attempted to make their personal life and personal problems as realistic and as interesting as possible. We wanted to make them seem like real people whom the reader would like to spend time with and want to know better.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest thin

I think it’s very important to show Black characters as main characters and to chart their journeys of vulnerability and strength. That was another major highlight of writing this novel.

Rodriguez:I get letters especially from older readers who are working class, and who know what that is like. That's why I take it that the energies of the book are mainly class and not ethnic.

You want the reader to care about your characters — if they don’t, then there’s no emotional involvement. But at the same time, I want my characters to be nuanced, to be gray, to be human beings. I think human beings are all nuanced. There’s this tendency to want to make people into heroes and villains. And I think there are villains in real life and there are heroes in real life. But even the greatest heroes have flaws and do bad things, and even the greatest heroes are capable of love and pain and occasionally have moments where you can feel sympathetic for them.

…The reason why people connected with the characters is because they are real, and to write real characters you have to go deep into them. As a human you look at another human and you come with your own judgements, but as a writer you have to put that aside and just look at people for who they are. It is a process, and much of it is subconscious…

I wanted to put presence into absence. I was very frustrated that black British women weren't visible in literature. I whittled it down to 12 characters – I wanted them to span from a teenager to someone in their 90s, and see their trajectory from birth, though not linear. There are many ways in which otherness can be interpreted in the novel – the women are othered in so many ways and sometimes by each other. I wanted it to be identified as a novel about women as well.

I wanted to create a character who didn’t routinely resort to violence and wasn’t courageous by virtue of wielding a gun. I wanted to show someone who was powerful and incisive who could face down the bad guys without becoming a bad guy himself. I wanted a hero who was ethical, thoughtful, and just.

I realized in writing over the years that some of the first readers I’ve ever had, and people who still pick up my books, are a lot of Native youth. It’s such a privilege to have them read my work. And I get it. I remember growing up, there wasn’t Native literature around. It wasn’t common; you didn’t see yourself reflected—certainly not in a good way—in any of the media you had access to, books or movies or TV shows. You didn’t see yourself in a good way in the classroom because the version of history you were being taught was that we were saved, and we were savages, and all of these horrible narratives that really don’t feel good when you’re growing up and this is your community.

By the time I wrote this book I needed to look at heroics from outside and underneath, from the point of view of the people who are not included. The ones who can’t do magic. The ones who don’t have shining staffs or swords. Women, kids, the poor, the old, the powerless. Unheroes, ordinary people — my people. I didn’t want to change Earthsea, but I needed to see what Earthsea looked like to us.