Artur Nowrot
asked
Jeff Vandermeer:
Hi, Jeff! One of the most distinguishing features of Wonderbook was the inclusion of pictures and paintings to provide a visual stimulus for the readers' creativity. My question is: do you use works of visual arts as inspiration for your creative process, e.g. when imagining fantastical settings? If so, do you draw from your favourite styles/artists, or do you consciously search for something new that might be of use?
Jeff Vandermeer
Sometimes I do. Scott Eagle, a friend of mine, is a great artist. And there's a scene in a room with art on the walls in Authority where I was conjuring up a memory of his work. The Book of Miracles from Taschen was a big influence on Acceptance.
More Answered Questions
Sam
asked
Jeff Vandermeer:
You've built some pretty outrageous and fantastic worlds in your writing, but are able to draw the reader in so easily. I've never had a point when starting one of your books where I am at all reticent to dive in completely. Is there a process for this world creation? Do you have a set map in your head from the beginning or does it kind of grow along with the story?
Micah
asked
Jeff Vandermeer:
Hi Jeff, I found the lack of names for the characters in Annihilation fascinating. I have several theories on the reason, and the narrative itself drops some hints, but what was your motivation on "naming" the characters according to their job title rather than giving actual names to characters, as you do in Authority?
Sheryl
asked
Jeff Vandermeer:
Regarding POV in Wonderbook: What is the best way to solidify an omniscient objective POV in the mind of the reader as they enter a story – without making the narrator a defined presence or character in his own right? I find that readers sometimes latch on to the first character to speak or act and respond as though the story was written in third person limited. Thus, POV shifts read as inappropriate head hopping.
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