Summary of "How to Write Absurdly Well — Adrian Tchaikovsky"

Summary of How to Write Absurdly Well — Adrian Tchaikovsky

This interview with Adrian Tchaikovsky, an acclaimed and prolific science fiction and fantasy author, explores his writing process, worldbuilding, character development, fight scenes, and thoughts on genre conventions and storytelling craft. The conversation covers how he plans novels, creates immersive worlds, develops believable characters, and writes compelling fight scenes, along with his views on originality, scientific plausibility, and narrative structure.

Main Ideas and Concepts

1. Advanced Planning and Worldbuilding

Tchaikovsky heavily plans his novels in advance, drawing from his experience running role-playing games, where worlds must be robust and immersive to withstand unpredictable player actions.
His worldbuilding extends beyond the story’s immediate needs, creating a fully fleshed-out setting that feels real and consistent.
Planning typically involves a detailed chapter-by-chapter outline in a word document, including key beats and necessary information exchanges between characters.
The narrative usually follows a linear progression, though he allows flexibility to deviate and revise if logic or story coherence requires it.
He plans up to the penultimate scene but leaves the very ending open to emerge organically from the story’s momentum.

2. The “What If” Method for Conceptualizing Worlds

Tchaikovsky starts with a “what if” question that acts as the seed for the world and story, e.g., “What if a species of spider evolved into the dominant civilization?”
From this initial premise, he follows logical consequences (“ripples”) to build out the world’s details and narrative.
He emphasizes originality by avoiding overused tropes unless he can bring a unique spin (e.g., avoiding dragons due to their saturation in fantasy).
A good “what if” must feel solid and expansive enough to sustain a full novel.

3. Character Development

Characters grow naturally out of the world’s context, shaped by cultural, social, and political factors.
Relationships and conflicts between characters emerge from the world’s tensions and factions.
Characters often surprise the author as they develop traits, emotions, and motivations beyond initial outlines.
Believable characters are “real to themselves” with distinct desires, fears, and reactions, which helps readers connect emotionally.

4. Narrative and Plot Construction

The story often arises from the world’s inherent pressures and flashpoints rather than forcing a predetermined plot.
In some projects, especially city-based stories, small personal conflicts escalate into large-scale drama (e.g., a petty feud igniting a city-wide revolution).
Tchaikovsky contrasts city-based narratives, which require dealing with consequences and complex social webs, with travel-focused fantasy narratives that allow characters to escape repercussions.

5. Science Fiction vs. Fantasy

He views science fiction and fantasy on a continuum from hard science fiction (strict adherence to known science) to full fantasy (magic with its own internal logic).
The “left wall” concept: the boundary of scientific plausibility that cannot be crossed without breaking reader immersion.
Scientific plausibility is important in sci-fi to lend weight and credibility, making speculative elements feel possible.
Magic often comes with a price in fantasy to prevent narrative stagnation and maintain tension.

6. Research and Scientific Plausibility

Tchaikovsky conducts detailed research to ensure scientific accuracy where needed (e.g., consulting submarine designers for water-filled spaceships).
He values scientific plausibility because it grounds speculative elements, making the story more impactful.
He acknowledges the “one big lie” concept in speculative fiction—one major fictional element is accepted if the rest is believable.

7. Writing Fight Scenes

Tchaikovsky draws on personal experience with stage fighting, live-action roleplay, and historical martial arts to write realistic fight scenes.
Fight scenes require a sense of perspective, flow, and emotional engagement, not just technical accuracy.
Different types of fights (large battles, skirmishes, duels) demand different narrative approaches.
He advises including only essential technical details to maintain pacing and avoid overwhelming readers.
Emotional narrative during fights helps convey character and immerses the reader in the experience.

8. The Role of Subconscious in Writing

Writing is a partnership between conscious planning and subconscious creativity.
The subconscious fills gaps and makes connections the conscious mind might miss.
Over time, experience trains the subconscious to contribute richer character details and story elements naturally.

9. Improving the Craft

Tchaikovsky improves by setting specific goals for each project (e.g., trying new narrative structures or emotional effects).
He prefers reading contemporary peers over classic “greats” for relevant inspiration.
Feedback from editors and continuous writing are important components of growth.

10. Connecting Readers Emotionally

Emotional beats are planned, but the response varies among readers.
Characters’ emotions and perspectives act as filters that help readers connect with the story.
Authenticity in characters’ emotional lives is key to engaging the audience.

11. Endings

The ending is the most important part of a book; it’s what readers remember.
A good ending must be both surprising and a logical culmination of the story.
Tchaikovsky prefers to discover the ending organically rather than predetermine it, allowing the story’s momentum to guide the conclusion.

Methodology / Instructions for Writing

Planning
- Begin with a strong “what if” premise that sparks logical worldbuilding.
- Build the world from the ground up, ensuring internal consistency and realism.
- Create a detailed chapter-by-chapter outline with key beats and necessary info exchanges.
- Plan up to the penultimate scene; leave the final ending open to emerge naturally.
Worldbuilding
- Make the world immersive, extending beyond the immediate story.
- Consider social, cultural, political, and environmental factors shaping the world.
- Use the world’s tensions and fractures to generate plot and character conflicts.
Character Development
- Develop characters as products of the world and its pressures.
- Allow characters to evolve and surprise you during writing.
- Ensure characters are emotionally real and true to themselves.
Writing Fight Scenes
- Research realistic fighting techniques and armor limitations.
- Convey the flow and chaos of combat from a character’s perspective.
- Use fight scenes to reveal character traits and advance the plot.
- Include only essential technical details to maintain pacing.
- Incorporate emotional narrative alongside physical action.
Research and Plausibility
- Identify “left wall” boundaries of scientific plausibility for your story.
- Conduct targeted research or consult experts to fill knowledge gaps.
- Maintain scientific plausibility to give speculative elements credibility.
- Accept one “big lie” if necessary but support it with overall realism.
Writing Process
- Combine conscious planning with trust in your subconscious creativity.
- Take notes on ideas as they arise to build a “conveyor belt” of concepts.
- Set specific goals for each project to push creative boundaries.
- Read contemporary works to stay informed and inspired.
- Seek feedback and revise accordingly.
Emotional Engagement
- Plan emotional beats you want readers to experience.
- Use character perspectives and emotions as filters for storytelling.
- Ensure characters’ emotional authenticity to connect with readers.
Endings
- Craft endings that are both surprising and logically consistent.
- Avoid rigidly planning the ending; allow it to arise from story momentum.
- Ensure the ending rewards the narrative journey and ties up key threads.

Speakers / Sources Featured

Adrian Tchaikovsky — Author, main interviewee, sharing his insights on writing fantasy and science fiction.
Interviewer / Host — Facilitates the conversation, asks questions about writing process, craft, and genre.
Referenced Authors and Works:
- Ursula K. Le Guin (noted for human-focused science fiction)
- Joe Abercrombie (noted for fight scenes)
- Robert Holdstock’s Mythago Wood (inspiration for numinous writing)
- Susanna Clarke’s Piranesi (inspiration for numinous writing)
- Michael Moorcock’s Dancers at the End of Time (example of magic without price)

This interview offers a comprehensive look into Adrian Tchaikovsky’s thoughtful, methodical, and imaginative approach to writing speculative fiction, emphasizing the balance between rigorous planning, scientific grounding, emotional authenticity, and creative spontaneity.

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Summary of "How to Write Absurdly Well — Adrian Tchaikovsky"