(Editor’s Note: This interview has been in the vault. For Monica’s most updated work, visit her at www.booksofm.com.)
Rachel Swirsky: You can write any tie-in on any subject you want. All the normal rules are out the window. If you’re writing Star Trek, you can have Q take over the universe. Whatever you like. What’s the tie-in book you’d write?
Monica Valentinelli: Well, I’ve been staring at this question for five minutes now, and I’m finding it impossible to narrow my options down to one. The book I would absolutely love to write is a Star Wars novel written as a mosaic (Yep, Game of Thrones!). The story for that would be a sordid tale of how different factions (which includes the Sith, Jedi, Witches of Dathomir, Kamino Cloners, Hutts) are all vying to become “the” de facto leaders of the Republic well before the the Old Republic ever existed. I’m talking centuries before the technology was created that allowed pilots to make the jump into hyperspace; here, space travel still exists it’s just a lot slower. For this to work, I wouldn’t kill off the Force-users and make them as rare as they currently are. Instead, I’d go the exact opposite direction. Force-users exist, but nobody believes they have real power, because they pass them off as religious or think their “tricks” are due to scientific or technologic advances. Only, they’re (Force-users) are not gifted due to genetics or midichlorians at all. So, it’s far less about “one family’s legacy” and more about “faction”. Everybody has a stake in controlling the galaxy, and sometimes they forget there’s other, more terrifying threats out there—like the Yuuzahn Vong or an unknown force. I think there’s a lot of politics in Star Wars that sometimes gets missed due to the high-octane action; its iconic setting is a treasure trove for storytelling potential, and I’d love to see (Who knows? Maybe write?) more genre-bending tales set in the universe.
Fantasy and horror are a bit tougher, because I prefer to create my own worlds in those genres; magic and mystery are comfortable wheelhouses for me. Of course, it doesn’t help that some of my fandoms (especially anime, Final Fantasy, and Miyazaki films) I’m way too nervous to touch; I don’t know if you’ve seen Madoka Magica, but I wouldn’t change anything after watching that; it’s perfect just as it is. If we’re going SUPER silly? Ever since Universal announced they were rebooting their universe, I kept thinking about the breakfast cereal. You know, Boo Berry, Franken Berry, Count Chocula, etc.? Yeah, a novel…but instead of scary monsters you get edible marshmallows and the only way to stop them from terrorizing your town is to eat them. Tasty. I have a lot of fun writing the ridiculous, and I don’t get to do that terribly often.
RS: Can you describe how you put a game book, like the Firefly RPG, together?
MV: Sure thing! So, the role I’m elaborating on is called a “developer”. This position requires management and participation in the team-based production of a game (or an entire line) from concept to approvals to print, while balancing the needs and desires of the publisher, license holder, and fans. The logistics of this position will vary widely from license to license and publisher to publisher. The Firefly RPG corebook, for example, was a complex and very involved undertaking for a number of reasons ranging from our focus on the TV show as opposed to the movie, which are two separate licenses, to ensuring that we made a game that Browncoats would be happy with. We encountered a lot of demand for the game after we announced in February 2013 but found there wasn’t enough time to produce a full corebook for our projected launch at GenCon, which took place in August 2013. Since GenCon is a significant show for game releases, we decided to release a preview, instead, so we could incorporate fan feedback for the full corebook.
In general, however, the tasks related to producing a game book happen over many months and might include: designing the production schedule, developing clear outlines and instructions for each book, finding, hiring, and managing other freelance game designers, writers, editors, indexers, artists, and layout artists, managing playtesters, working with sales or marketing partners, sending out contracts, making canon-related decisions and sticking to approval guidelines, etc. In addition to all of this, I feel the biggest responsibility I have as a developer is one of quality control. On each game I develop, I’m involved and participate in every step of production (outlining, writing, editing, layout, proofing, and approvals) to ensure the result is something everyone will love.
RS: You also wrote and designed a dictionary and encyclopedia for Firefly. Can you tell us about those books?
MV: I had a great deal of fun working with my editor at Titan Books to produce Firefly: The Gorramn Shiniest Language Guide and Phrasebook in the ’Verse, which is available on April 12th. We designed this reference book to pull words from the television show scripts and define them, in context, for the benefit of the reader so that they might get a clear idea of what it’s like to live in the ’Verse. Every word chosen was intentional—even the simpler words—to establish what setting bits and pieces of dialogue mirrored our own world exactly as we know them, and to contrast the definitions that are slightly shifted or engineered to fit the world of Firefly. We also added character write-ups for the cast and a huge section featuring Jenny Lynn, the show’s translator, and her work on Firefly.
Following this, I was hired to write the Firefly Encyclopedia. Revisiting the universe, I was able to incorporate the comics to write a narrative retelling of the story thus far, dive into the culture, offer interviews, feature Tony Lee’s work (who was the Chinese translator on both the Firefly and Serenity RPG lines), and provide an analysis of the scripts that included my commentary and information about the story’s inspiration.
Both books are available wherever they are sold. When I was in Seattle recently, I signed some copies of the encyclopedia at the Barnes and Noble, but they’re going fast!
RS: If the characters from Firefly could choose any cake flavors, which flavors would they choose?
MV: Such a fun question! Kaylee might go for strawberry shortcake, and Simon would probably go for a devil’s food—so he could savor what a real chocolate cake tastes like! Let’s see, Book is pretty interesting because he’s a preacher with a mysterious past, so I think a vanilla cake with a surprise filling inside, like raspberry, works out pretty well for his character. Inara is very elegant and sophisticated, so she might prefer something like a ginger peach cake with green tea icing. Mal? I’m guessing he doesn’t care if his cake is fancy provided it has frosting on it. For Jayne, I’d have to go with apple pie. Technically it’s not a cake, but I imagine the smell of apples might remind him of home—even though his mom may not have been able to afford enough apples to bake such a confection. River? Hrmm… That’s a tough one, because depending upon her state of mind she might enjoy a birthday cake she had as a child, or something a bit more colorful like red velvet. That leaves Zoe and Wash. Being the insufferable romantic that I am, I have to go with the top of their wedding cake for both of them.
RS: Tell us about your most recent story.
MV: The story I published most recently is titled “My Name is Cybernetic Model XR389F and I am Beautiful” for Uncanny Magazine. I talked a lot about this story in my interview with Caroline M. Yoachim in that issue. Since the story debuted, I’ve learned a lot about perception and identity. You see, I wasn’t angry when I wrote this story. I simply relayed a specific experience that I, and a lot of other women have, using the lens of science fiction to examine and question it in a fictional context. Not so much “write what I know”, but more “write my truth.” I’m deeply concerned that we laud technological achievements without recognizing our inventions don’t change who we are; they will reflect our biases and core beliefs, because we made them. If we don’t broaden our perspectives now, then how can the future belong to all of us? I suppose that’s the beauty of writing and reading science fiction. There are so many wonderful authors who answer questions like these in their work, to propose a better future.
I also wrote a prequel to “The Dunwich Horror” for an anthology called Sisterhood: Dark Tales and Secret Histories featuring the Woman in White, wrote a tie-in story about cats for the Monarchies of Mau RPG, and have a handful of others that’ll debut this year. Plus, I developed a new fantasy world and wrote a novella to launch a solo game series called “Proving Grounds”. I’m thrilled that a bunch of my stories’ll be out this year. Exciting!
RS: Your cats have unusual names. How did they get them? Can we see some pet pictures, too?
MV: Hah! Well, we have two cats (one ginger polydactal manx with yellow eyes, and a black cat with green eyes). The ginger cat was originally named after the ancient Babylonian god of dreams, and our black kitty for the god of storms. Over time, as their personalities emerged, we wound up with sillier-sounding names to offset those four a.m. wake-up calls and our bewilderment at their addiction to catnip. We nicknamed our ginger cat Lord Lardbottom, because he’s a bit lopsided. Because he doesn’t have a tail, he biffs when he tries to jump up higher than the length of a footstool, and he often sits and pouts when he doesn’t get his way.
Our black cat is a chatterbox, gaping maw, and alarm clock all rolled into one. He has a high-pitched voice, which led us to affectionately refer to him as Captain Whinypants.
Thanks so much for inviting me to be a part of your world, Rachel. If your readers would like to check out me or my work, I invite them to visit www.booksofm.com.
(This interview was posted early for my patrons on Patreon. Thank you!)