Posted by Athena Scalzi
https://whatever.scalzi.com/2026/02/19/the-big-idea-gideon-marcus-2/
https://whatever.scalzi.com/?p=59533

On occasion, you know the ending of your story before you start writing. Most other times, you find the path as you go, each twisting turn appearing before you as you continue on your merry way. The latter seems to be the case for author Gideon Marcus, who says in his Big Idea that he wasn’t always sure how to wrap up his newest novel, Majera.
GIDEON MARCUS:
What’s the big idea with Majera? That’s a hard one, because there are lots of threads: the unstated, obvious, valued diversity of the future, which helps define the setting as the future. That’s a familiar technique—Tom Purdom pioneered it, and Star Trek popularized it. There’s a focus on relationships: found family, love in myriad combinations. There’s the foundation of science, a real universe underpinning everything.
But I guess what I associate with Majera most strongly is conclusion.
Starting an exciting adventure is easy. Finishing stories is hard. George R. R. Martin, Pat Rothfuss. Hideaki Anno all have famously struggled with it. When Kitra and her friends first got catapulted ten light years from home in Kitra, I started them on a journey whose ending I only had the vaguest outline of. I had adventure seeds: the failing colony sleeper ship in Sirena, the insurrection in Hyvilma, and the dead planet in Majera, but the personal journeys of the characters I left up to them.
I know a lot of people don’t write the way I do. I think writers mirror the opposing schools of acting: on one end, the Method of sliding deep into character; on the other, George C. Scott’s completely external creation of an alternate personality. In the Scott school of writing, characters are puppets acting out an intricate dance created by the author. In the Method school of writing, of which I am a member, the characters have independent lives. I know that seems contradictory—how can fictional agglomerations of words achieve sentience?
And yet, they do! I didn’t plan Kitra and Marta’s rekindling of their relationship. Pinky’s jokes come out of the ether. Heck, I didn’t even come up with the solution that saved the ship in Kitra—Fareedh and Pinky did (people often congratulate me on how well I set up that solution from the beginning; news to me! I just write what the characters tell me to…)
All this is to say, I didn’t know how this arc of The Kitra Saga was going to end. But I knew it had to end well, it had to end satisfyingly, for the reader and for the characters. There had to be a reason the Majera crew would stop and take a breather from their string of increasingly exotic adventures. The worldbuilding! All of the little tidbits I’d developed had to be kept consistent: historical, scientific, character-related. There had to be a plausible resolution to the love pentangle that the Majera crew found themselves in, one that was respectful to all the characters and, more importantly, the reader’s sensitivies and credulity.
That’s why this book took longer to put to bed than all the others. It’s not the longest, but it was the hardest. Frankly, I don’t think I could even have written this book five years ago. I needed the life experience to fundamentally grok everyone’s internal workings, from Pinky’s wrestling with being an alien in a human world, to Peter’s coming to grips with his fears, to Kitra’s understanding of her role vis. a vis. her friends, her crew, her partners. In other words, I had to be 51 to authentically write a gaggle of 20-year-olds!
Beyond that, I had to, even in the conclusion, lay seeds for the rest of the saga, for there is a central mystery to the galaxy that has only been hinted at (not to mention a lot more tropes to subvert…)
Conclusions are hard. I think I’ve succeeded. I hope I’ve succeeded. I guess it’s for you to judge!
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Author socials: Website|Bluesky
https://whatever.scalzi.com/2026/02/19/the-big-idea-gideon-marcus-2/
https://whatever.scalzi.com/?p=59533