Why writer’s don’t have to be lonely.

Why Writers Don’t Have to Be Lonely: Sebastian de Castell on Creativity, Community, and the Real Work Behind a Fantasy Career

If you picture a novelist as someone alone in a room, staring at a blank page for hours, Sebastian de Castell wants you to think again. In this conversation, the Canadian fantasy author behind The Greatcoats, Spellslinger, and Malevolent Seven explains why writing does not have to be an isolated life – and why, for him, connection is part of the creative process.He also pulls back the curtain on the realities of publishing, from foreign translations to film and TV options, and shares how he thinks about inspiration, ambition, and the big moral questions hiding inside fantasy stories. If you’re a writer, an aspiring author, or just someone curious about how books actually become books – and sometimes movies – this conversation is full of practical insight.[IMAGE: Portrait of a fantasy author at a desk with books, notebooks, and a laptop] [ALT TEXT: Fantasy author Sebastian de Castell discussing writing, community, and publishing.

About Sebastian de Castell

Sebastian de Castell is a Canadian fantasy novelist known for the swashbuckling Greatcoats series, the YA fantasy series Spellslinger, and his darker, irreverent Malevolent Seven trilogy. His books have been translated into many languages and optioned for film and television, but what stands out most in this interview is not just his success – it’s how thoughtfully he talks about the craft and business of writing.He doesn’t present himself as a tortured genius working in isolation. Instead, he describes a career built around relationships: with editors, writer friends, readers, and even other artists in film and TV. That perspective shapes everything else he says.

Writing Is More Social Than You Think

One of the biggest myths about being a writer is that loneliness is just part of the job. Sebastian pushes back on that idea immediately. Yes, writing can be solitary in the mechanical sense – you do spend a lot of time alone with your thoughts – but it does not have to become a lonely life.Copy

“I really never feel lonely.”That’s not because the work is easy. It’s because he’s intentionally built a life that keeps him connected. He talks about regular brunches with other novelists in Vancouver, long conversations with editors, and the value of taking breaks to talk through ideas rather than sitting alone with them forever.For Sebastian, talking about the work is not a distraction from writing. It’s part of how he writes.Why in-person connection mattersHe makes a strong case that online interaction is not the same as being with other people. You can message, post, or call all day, but that still isn’t the same as sharing physical space with someone.He compares it to nature: a screensaver of a redwood forest is not the same as walking through one. In the same way, social media can help you stay in touch, but it does not fully replace real-world presence.That matters for writers because creativity does not happen in a vacuum. Real conversations, body language, shared meals, and even casual complaining about the industry can all help you stay grounded.[INTERNAL LINK: A related post about how creative professionals build sustainable routines]A practical lesson for writersIf you’re building a writing career, Sebastian’s advice is simple: don’t organize your life like isolation is inevitable.Try this instead:

• Join a local writing group or critique circle
• Schedule regular coffee or lunch meetups with other creatives
• Talk through ideas with trusted peers before they become a finished manuscript
• Make room for non-writing friendships so your whole identity is not tied to the page

His point is not that everyone needs to be extroverted. It’s that writers can create systems of connection that support the work instead of draining it Small group of writers talking in a coffee shop Writers meeting in person to discuss ideas and support each other

Absolutely! Here’s a list of thought-provoking and interview questions for Hollis to ask Sebastien de Castell on the Hollis Chapman Show, focusing “Malevolent Nine” and its themes:

In “Malevolent Nine,” characters grapple with the repercussions of the Great Crusade. do you think the aftermath of such a conflict alters a person’s sense identity, and how is this reflected in your characters’ journeys?

.Moral Ambiguity**: The motivations of mercenary mages andlords in the often blur the lines between and evil. Can you discuss how these moral ambiguities shape their decisions and affect the world around them?

3. Weakened Bar: With the barriers between realms weakened, what are the broader implications for both Celestines andfern? How does this contribute to the larger themes of power and control in your narrative?
4. Characterotomy: Many of your characters find themselves on opposite of the moral spectrum. How do you approach developing characters who embody both virtuous and villainous qualities, and what do hope to convey through their?
5. In the aftermath of such a brutal conflict, characters must navigate trauma and its lingering effects. What insights can you share about how you’ve portrayed their recovery processes, and how do these experiences resonate with real-world issues?

With shifting allegiances the mercenaries, trust becomes a fragile commodity. do you explore the themes of trust and betrayal your characters, what do you believe this reveals about human nature in times of crisis?

In “Malevolent Nine,” characters often stark choices that define their paths. How do you conceptualize the idea of choice versus fate in the context of your’ lives and the decisions stemming from the Great Crusade

The narrative invites readers to ponder the nature of power and its consequences. What philosophical questions do you hope to evoke in your through the struggles and triumph of your characters

Considering the world-Cade, how do you the of magecraft and its status? What challenges do your characters face in navigating a landscape where magic may be both a weapon and a curse?

As the characters attempt to rebuild their world what do you see as the most critical lessons learned from the Great Crusade? How you believe these lessons shape the future of the realms in trilogy?

These questions should to engaging and insightful conversations, providing a deeper ofMalevolent Nine” and its implications within the.

Where Sebastian de Castell Gets His Ideas

When people ask writers where ideas come from, the answer is often vague or mystical. Sebastian gives a more useful response: ideas are not usually the problem.In fact, he says most novelists have far more ideas than they could ever write.

The real challenge is choosing which ones are worth the time, energy, and emotional investment needed to turn them into a book.That is a refreshing way to think about creativity. Instead of waiting for inspiration to strike, Sebastian treats inspiration as something you cultivate by paying attention to the right things.

Emotional drama comes firstAlthough his books are full of magic, swords, monsters, and elaborate worlds, Sebastian says the thing that matters most to him is emotional drama. He is not chasing spectacle for its own sake. He wants the conflict to mean something to the characters.

That’s why he looks for inspiration in places that might surprise you. One example he gives is The West Wing. He re-watches it not because he wants to copy Aaron Sorkin’s style, but because great dialogue and sharp emotional writing make him want to sit down and write himself.He also draws energy from reading the work of other novelists, especially friends whose writing he already knows well. In other words, inspiration is not just about consuming content.

It’s about choosing material that activates your own creative instincts.[INTERNAL LINK: A related post about finding inspiration when you feel stuck]Writer’s block is not a failure statePerhaps the most relatable thing Sebastian says in this section is this: writer’s block is his default position.That sounds funny, but it is also oddly comforting. He is not pretending that great writers always feel inspired. He starts from stuckness like everyone else, and then works his way forward by looking for emotional truth, strong dialogue, and material that makes him want to create.For readers, especially aspiring writers, that’s an important reminder:

• You do not need to feel brilliant every day
• You do not need to have a perfect idea before you begin
• You do need to know what kind of emotional experience you want to create

What the Publishing and TV Pipeline Really Looks Like

A lot of people assume that when a book gets optioned for film or TV, the hard part is over. Sebastian makes it clear that this is not even close to true.He’s had books optioned for adaptation, but he explains that the process is long, uncertain, and full of stages where projects can still fall apart. An option is not a production deal. It’s not even close to a guarantee that a show or movie will ever exist.The many steps between a book and a screenSebastian walks through the process in a way that is easy to understand:

1. A producer or studio becomes interested in the book
2. Rights are negotiated through the publisher and agent
3. An option is secured
4. The production team tries to raise development money
5. A script is written
6. Talent is attached
7. A full budget is assembled
8. The project moves into production
9. Only then might it actually air or hit theaters

That is a lot of steps. And at each step, the odds get lower.He describes the chances of a fantasy novel reaching TV or film as tiny – and the odds of it becoming something good as even smaller. That honesty is valuable because it cuts through the fantasy around “Hollywood success.”[IMAGE: Flowchart showing the path from book deal to TV adaptation] [ALT TEXT: Diagram of the steps from a novel option to film and television production]Why book rights matterSebastian also explains something many readers do not realize: a book is not just one product. It can become:

• A print book
• An ebook
• An audiobook
• A foreign-language edition
• A film or TV project
• A video game
• A comic or graphic adaptation

That means authors are really creating intellectual property that can live in multiple places.He also notes that publishers may buy different bundles of rights depending on the deal. Sometimes a publisher gets only English-language print, digital, and audio rights. Other times they buy world rights and more. That detail matters because it affects how revenue is split and where a book can go next.For authors and publishing-curious readers, this is one of the most practical parts of the conversation. It explains why a book deal is not just about getting published – it’s about how far that story can travel.[INTERNAL LINK: A related post about how book rights and publishing deals work]The reality of adaptation expectationsSebastian is refreshingly unsentimental about screen adaptation. He says that when his agent calls about a possible film or TV option, he goes straight into business mode. He wants to know the rights, the terms, and the structure of the deal.That does not mean he is indifferent. It means he understands the process well enough not to confuse excitement with certainty.And that’s a useful mindset for any creative person: celebrate the opportunity, but do not mistake momentum for completion.

The Real Goal: Write the Best Book You Can

The heart of Sebastian’s outlook is not about Hollywood, awards, or even sales. It is about craft.He says the real joy comes from making the best book you can and building an audience who loves your writing for what it is. Everything else – film interest, translations, deal announcements – is secondary.Why he prefers novels to screenwritingSebastian actually has a strong reason for staying in prose. He says he became a novelist by choice because novels let him make art on his own terms.In his view, screenwriting operates on a different scale:

• Budgets are much larger
• More people are involved
• The financial stakes are higher
• The writer has less control over the final product

By contrast, a novel is your work. It may be edited by many people, but it still comes out under your name. That autonomy matters to him.This is a helpful reminder that success does not look the same for everyone. For Sebastian, the “dream” is not necessarily to move away from books. It is to keep making books worth reading.His favorite part of adaptation is the conversationThe most meaningful part of the TV process for him is not the deal itself. It’s talking with people who genuinely understand and respect the work.He gives a great example of chatting with Chad Stahelski, the director of John Wick, who had read everything Sebastian had written and could speak to the deeper themes of honor, identity, and character. That kind of conversation is what makes adaptation feel worthwhile.

What he really values is being seen as an artist by other artists.That is probably the most understated but powerful lesson in the interview: the best professional opportunities are the ones that deepen your relationship to your own work. A related post about balancing creative control and collaboration]

What Readers Can Take Away From Malevolent Nine

When the conversation turns to Malevolent Nine, Sebastian explains that the book is not just about action or dark fantasy. It is asking a moral question: if something looks like paradise, who decides whether it is worth having?That question powers the whole series. The characters are anti-heroes, often suspicious, often destructive, and often forced to do the right thing for the wrong reasons. In the final book, they have to confront the possibility that the force they are fighting may actually be trying to create a better world – just not one they trust.The big question: paradise for whom?Sebastian’s answer is not a neat moral slogan. It is a challenge to think more carefully about power, progress, and exclusion.If someone claims they are making the world better, ask:

• Better for whom?
• At whose expense?
• Who gets left out?
• Who gets to decide what “better” means?

He connects that idea to modern debates about democracy, power, and even AI. The point is not to make the book sound like a lecture. It’s to show that fantasy can ask real questions in a way that is entertaining, strange, and emotionally engaging.That is what good genre fiction often does best: it smuggles big ideas into a fun, vivid story.Why endings matterSebastian also talks beautifully about finishing a series. Ending a trilogy is satisfying because it means you really completed something. But it is also bittersweet, because closing one story arc means you can no longer explore those exact questions in the same way.That sense of completion – and loss – is part of the creative life too.[IMAGE: Stack of fantasy novels with a pen and handwritten notes] [ALT TEXT: Fantasy books and writing notes showing the completion of a trilogy]

Key Takeaways for Writers and Readers

• You do not have to be lonely to be a writer
• Real-world relationships can strengthen your creativity
• Inspiration often comes from emotional resonance, not just “big ideas”
• A book option is not the same as a production deal
• Publishing is really about intellectual property and multiple rights
• The best creative goal is still the simplest: write the best book you can
• Great fantasy stories can ask serious questions without losing their sense of fun

Frequently Asked Questions

Is writer’s block normal for professional authors?Yes. Sebastian says writer’s block is his default position, which means even successful authors still struggle with getting started. The difference is that they build habits and systems that help them move through it.How do books get adapted for TV or film?Usually through a long chain of rights negotiation, optioning, development, packaging, and production. Sebastian explains that even after a book is optioned, it may never reach the screen.What inspires Sebastian de Castell’s writing?He looks for emotional drama, strong dialogue, and work that makes him want to write. That’s why he re-watches shows like The West Wing and reads books that energize him creatively.What should new writers learn from this interview?That writing is not just about discipline – it’s also about community, perspective, and staying connected to the world. Sebastian’s career shows that success comes from craft first, not hype.

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IMAGE/VISUAL SUGGESTIONS

• Sebastian de Castell’s official website: https://dcastell.com
• A credible publishing industry resource explaining book rights and options
• An article or interview about the John Wick production process for adaptation context