Susan Kaye Quinn is a rocket scientist-turned-speculative fiction author of the bestselling Mindjack trilogy (Open Minds, Closed Hearts, Free Souls). The Mindjack” trilogy is about a world where everyone reads minds except one girl—who finds she can control them instead. She sits down with fellow StoryBundler Geoff Morrison to discuss making up words, accents, plotting, and more

How did you approach your first book? Is that different from how you approached the next? The most recent?

I think every story has been an evolution for me. I started out pantsing my way through my novels, then hyper-plotted them, and more recently swung back to a combination. Each novel is unique, and my process accommodates that.

What did you learn writing your first novel? Your most recent?

My first novel was all about learning I could actually write a whole darn novel! I was like a junkie on speed with the rush of it. I’ve written seven since then (not including my 9-part serial). My latest novel is teaching me that mashing together genres is particularly challenging—it’s like writing two novels in one.

How much do you plan out in advance, and how?

When I plot, I generally outline the larger turning points of the story. From there, I let the details organically fill themselves in as I write the more-linear progression of the story itself. But my next novel may be completely different process – I’m writing the screenplay first (as part of a class), then turning it into a novel later.

How do you approach writing characters?

My worlds often come to me first, so I create the character that the world needs to fill it. But some of my stories are more character-driven, like my “Debt Collector” serial, where it’s all about a good man with a bad power (the ability to suck out people’s life energy and transfer it to others). His personal struggle drove the creation of the larger story world.

How do you give individual characters their own “voice.”

Accents. Lots of accents. And made up words. (I am joking. Somewhat.) Characters have their own voice because in my head they are their own people. Isn’t it this way for everyone? I recently revised a middle grade story about a modern California boy who is tricked into switching places with a 4,000 year old runaway faery prince. It’s told in alternating POV. I have it in third person, but their voices are so distinct, I’m sure I could have gotten away with alternating first on that one. Crafting voice for the faery was the most challenging in that particular story, but it was also the most fun.

Do you wait until you have an idea, or do you sit down and write every day no matter what?

I write every day. I have far too many ideas and ambitions for novels and series and serials and short stories… if I don’t write constantly I have no hope of getting any of it done.

How many people get to read your unfinished, or recently finished, work?

I have a stable of critique partners that I use, and recently I’ve hired a developmental editor to take some of the burden off my critique partners. Usually there’s a few (2-5) people who have read the work before it goes public.

What advice would you give to someone just starting out, trying to finish (or start!) their first novel.

I stumbled into doing the best possible thing in the beginning: just write. Just sit down, with no clue whatsoever except that you want to write a story, and do it. I had no thoughts about publishing, or even that people would read what I was writing (in fact, I was terrified of that prospect), I was simply enthralled that I could create characters and events and story out of thin air. It was a revelation to me! Because of that, I did a whole lot of creating before I stopped to worry about selling (which is a good thing).

When I started to share my work (with other writers), I became hungry for knowledge about how to improve what I was creating. Because I had a taste of what it was like to move people, and I wanted more of that. I wanted to write better. Those two things—write a lot and always strive to write better—will take you as far as you want to go in this business.

Who are your favorite authors?

Scott Westerfeld, Holly Black, Hugh Howey. Those are just the recent ones, of course. I read all the classic SF in my youth: Heinlein, Asimov, Pohl.

Have you read any useful books that helped you with story, characters, or writing in general?

I encourage novelists to read books on screenwriting, like Save the Cat by Blake Snyder and Story by Robert Mckee, because they really help with developing storytelling skills, not just craft skills. Most writers are lovers of the word first, story second. I think this is a natural thing. But writers are storytellers first and foremost. That’s the skill that is most important to have in your toolbox.

What software do you use, if other than MS Word?

I use Scrivener, which is fantastic for doing story research – everything stays organized and accessible. Some people use it for writing and formatting as well, but I’m too superstitious for that. I stick with Word, and jealously guard it with multiple redundant backups.

Are there any websites you found helpful in regards to eBook formatting?

I have a whole book on indie publishing (which includes some detailed information on formatting) called the Indie Author Survival Guide. I’m currently blogging the book, so all the information is on my website The book will come out in October 2013.

Do you sell across all eBook platforms? Has one done better for you than others?

I publish on the Big Four (Kindle, Nook, Apple, Kobo). Amazon does by far the best for indie authors because their algorithms are better at matching readers to books. People with very high-selling books can do well equally on all platforms, but Amazon helps indies all up and down the sales ladder in moving books.

Do you sell print versions of your books? If so, what company do you use, and why?

Yes. I use Createspace because it’s inexpensive, easy to use, and distributes internationally.

Susan Kaye Quinn is the author of the bestselling young adult SF Mindjack Trilogy. The Debt Collector serial is her more grown-up SF, meant for ages 17+. Susan grew up in California, got a bunch of engineering degrees (B.S. Aerospace Engineering, M.S. Mechanical Engineering, Ph.D. in Environmental Engineering) and worked everywhere from NASA to NCAR (National Center for Atmospheric Research). She designed aircraft engines, studied global warming, and held elected office (as a school board member). Now that she writes novels, her business card says "Author and Rocket Scientist," but she mostly sits around in her pajamas in awe that she gets paid to make stuff up. All her engineering skills come in handy when dreaming up dangerous mindpowers, future dystopic worlds, and slightly plausible steampunk inventions. For her stories, of course. Just ignore that stuff in the basement. Susan writes from the Chicago suburbs with her three boys, two cats, and one husband. Which, it turns out, is exactly as much as she can handle. You can find her on Facebook way too often, You can follow her on Twitter , and can sign up for her newsletter.

Geoffrey Morrison is a freelance writer and editor. His first novel, Undersea, was featured in the first StoryBundle. You can follow him on Twitter @TechWriterGeoff.