Today we hosted our second Angry Robot Live hangout, “Crossing the Streams,” focused on cross-genre storytelling and storytelling across multiple media.

Our guests were Rod Duncan, Emma Newman, and Marianne de Pierres.


If you missed the panel, you can watch it in its entirety here:



I’ve also re-posted some questions we didn’t get to to continue the conversation, and if you have questions inspired by the panel, add them in the comments below!

Thank you all for joining us, and stay tuned to the Angry Robot blog for future Angry Robot Live announcements!



From Qwill

How do each of you use ‘place’ as character in your writing and how much does ‘place’ influence your writing? (Apologies if this has already been asked.)


Richard Shealy

(Tuned in late, so apologies if this has already been asked.) In cross-genre work, how much preexisting familiarity with the involved genres do you assume in the reader? Are there minima and maxima in this?


  1. Picking up on Emma’s question from Paul Weimer:

    I would like to use West Wales and Taiwan as settings. I grew up in Wales and lived in Taiwan for some years. I love them both.

    Great questions.

  2. Hi Richard,

    I’d like to think The Bullet Catcher’s Daughter will be accessible to an audience beyond the genre readership. Having said that, genre readers are likely to have an appreciation of the aesthetic and tropes and thus have a richer reading experience.

    In the terms of your question, the minimum needed familiarity would be zero.

  3. Hi, I’ll have a go at burbling in text form here 🙂
    @Qwill: Place is hugely important for me, especially in the Split Worlds series, not only because one of the key cities was a key inspiration for the series. Each city is so different from the other that those differences formed the foundations of world building, especially the political structures in the Nether versions of those cities. Also aspects of their history informed the histories of the people living in them, which in turn influenced the plot. So, in short, they have a huge influence 🙂

    Richard: I try never to assume anything about my readers, as I am doomed to fail. I aim to write books that can be enjoyed without a wider genre knowledge or context, but of course, if someone has experience with the genre, they will enjoy the way the genre is played with or even subverted in a mash-up. It’s the same as pop culture references in a book; if someone isn’t familiar with the thing being referenced it shouldn’t destroy their enjoyment, but if someone is familiar with it, it can deepen enjoyment.

    I think Paul Weimer asked me a question on the earlier post about if there are any locations I’d like to write about in the future. Yes! Manchester is one, I love the city and its history. Another, wider location is Cornwall as I grew up there and it is riddled with amazing soul. So many myths and legends and atmosphere. I would also like to play with York but would have to research a lot more. It’s a damn interesting place though.

  4. Hi Qwill,

    The Bullet Catcher’s Daughter began for me with the imagination of a place that I know being transformed into something other. I was walking through Leicester, England, imagining the ghost image of a Victorianesque city almost perfectly superimposed on it. So TBCD did begin with place, leading to an understanding of the protagonist. From there the story itself began to emerge. After which I had to work out how this alternate history came into existence – what force it was that could have stultified technological and social progress.

    I’m not sure if that answers your question. But I can tell you that when I walk around the city now, the ghost of the Gas Lit Empire version of it is very real to me.

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