Ferrett Steinmetz, “Flex” (Angry Robot 2015)

Jun 23, 2015

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Ferrett Steinmetz first built an audience as a blogger, penning provocative essays about “puns, politics and polyamory” (among other things) with titles like “Dear Daughter: I Hope You Have Awesome Sex” and “How Kids React To My Pretty Princess Nails.”

In recent years, he has drawn accolades as an author of speculative fiction, writing short stories and earning a Nebula nomination in 2011 for his novelette Sauerkraut Station.

And now he is exploring new waters with the publication of his first novel, Flex (Angry Robot, 2015), which tells the story of a father desperate enough to use illegal magic to heal his badly burned daughter.

The title refers to crystalized magic that, when snorted, gives the user the power to manipulate objects for which he or she has a particular affinity. Cat ladies become felinemancers. Weightlifters become musclemancers. Graphic artists become illustromancers. And the protagonist, a paper-pushing bureaucrat by the name of Paul Tsabo, becomes a bureaucromancer, able to turn paperwork (with the help of flex) into a magical beast.

The only problem is that with flex comes flux–a pushback from the universe that re-balances any magic act with disaster.

Below are highlights from Steinmetz’s New Books interview.

On what he learned at Clarion Writers’ Workshop:

“Bit by bit they kind of stripped away my illusions and showed me how lazy I’d been and how much more effort I had to put to make my stories top notch. … I thought I was a one and a half draft person, but realistically I have to put in 5 drafts before the story starts to get good.”

On how paperwork can become magical in Paul Tsabo’s hands:

“He’s basically useless in a firefight but can send a SWAT team through your door by dropping a magically completed warrant for your arrest on a cop’s desk.”

On why he why a world with flex also needs flux:

“Flux evens out the odds of magic…. I really hate novels where magic is this thing you can do … without any kind of cost…. Frequently what I see is, ‘Oh, I’m a magician. I’ll raise an army of the dead and make my castle out of magic,’ and where is any challenge in that for your characters? Where do they have any stopping points to what they can do?… A big tension in the book as to whether the mancers should even use their magic.”

On his approach to writing:

“I’m what’s called a gardener writer in the business. There are plotters who basically sit down and plot out all their books beat by beat and know their ending the minute they start their first sentence. And Flex, like every story I’ve ever written– basically I wrote an interesting first paragraph and followed it randomly until the end of the book.”

On 9/11 as an inspiration for Flex:

“To a large extent the magic system in Flex is driven by a reaction to 9/11, where something really bad happened–and yes it really was bad… but we really overreacted that wasn’t helpful at all and in fact may have made it entirely worse for us.”