Author Introductions/Afterwords

[Denny]

What do you look for in an author introduction/afterword for a limited edition?

 

Are you most interested in the creative process? The author’s view on the faction/lore/character? Insights into why certain choices were made with the plot/narrative? 
 

Purely a hypothetical question… not because I’m working on something…

[LemartesTheLost]

I'll say this, I prefer afterwords to introductions. Introductions, whatever their content, can cloud or prejudice the reader's opinion before they even touch Chapter 1. As for the content of said intro/afterword, I personally prefer insight to the author's view/opinion on the motivations of the main character(s) and their respective factions/subfactions. I like to hear about the creative process, too. Tell me about which parts were harder/easier to write as well, did it get tough at the end or was the roadblock hit around halfway through?

 

I'm less so interested in hearing why plot choices were made because part of the Warhammer Magic is that you get to take the source material and then interpret it into your own headcanon. Having the plot choices spelled out can take away from that magic, I find. I'm sure plenty of others will disagree with me, though.

 

Best of luck, @Denny! Always good to see you around these parts!

[darkhorse0607]

Not too much to echo that Lemartes didn't touch on, but I will say that I'm going to slightly disagree with the second point (surprise, surprise)

 

While I don't need everything spelled out in the afterwards, I do think it's appropriate on occasion, particularly if there was something shifted/changed in the editing process that differs from the story that the author wanted to tell. An example of this was Lion: Son of the Forest by Brooks, where he said that he originally set out to do something different, but there were mandated requirements by BL/things were changed which resulted in some wonkiness (magically appearing primarch sized pistols for example).

[wecanhaveallthree]

I think a lot of people are very interested in hearing about the creative process. The book speaks for itself, and the decisions behind narrative choices are - as Lemartes says - a lot more Fun when it's up to readers to guess at. But show us how the sausage was made, previous ideas or iterations, the challenges and triumphs. These are the author's words and their opportunity to speak directly to the reader, and I think they belong best when the book ends. It's like sitting down to have a chat after a good meal: it leaves a warm glow of satiety and connection. As strange as it may seem, authors are characters themselves in the narratives of the audience.

 

But most of all the afterword should be used as an 'are the editors gone?' section, where one may spill the tea on who has a crush on whom.

[Denny]

Thanks for the replies. It’s all very useful and appreciated. 

I prefer afterwards too (and they are easier to write; I find it hard enough figuring out how much to give away in the blurb).

 

Deleted scenes is an interesting idea. I’ve not really thought about discussing what was cut,  but it’s makes a lot of sense.