An Interview with Carrie Vaughn
Interview conducted c. early 2010s
Introduction
Carrie Vaughn is a New York Times bestselling author best known for the long-running urban fantasy series centered on the character Kitty Norville. Her work spans science fiction, fantasy, superhero fiction, and young adult literature, and is noted for its emotional grounding, clarity of voice, and character-driven storytelling.
This interview was conducted during a period when Vaughn was actively expanding multiple series while also working across genres. The conversation focuses on process and instinct—how stories evolve through questioning, revision, and attention to emotional truth rather than rigid structure.
Of particular interest is Vaughn’s emphasis on curiosity as a storytelling engine and her reliance on intuition during revision. Her responses reflect a pragmatic, reader-aware approach to craft, grounded in discipline and continuous learning rather than fixed formulas.
This interview is preserved as part of the Better Storytelling Archive, documenting the working methods and creative philosophies of contemporary storytellers.
The Interview
Life as a Writer
How did you get into writing?
I’ve been writing since I was a kid; I wrote my first story when I was about eight. In high school I decided that’s what I wanted to do for a living and started trying to get published. It took awhile, but the whole time I was writing, working at getting better, and working to break in.
When did you first realize that you have what it takes to be a writer?
I’m not sure I’ve realized it yet. I’m making a living, which is great and was always my goal. But I still have a lot to learn and am still working to get better.
Premise
Where do you get your ideas from?
Everywhere. Things that make me angry, things that make me happy, things I love, things I hate, music, the outdoors, news, history—everything.
How do you develop your ideas into a story?
I just keep pecking away at it. I figure out who the characters involved are, how they got into the situation, and how they’re going to get out of it. I smoosh several ideas together at once to see what happens.
Genre
What kind of stories do you enjoy working with?
Science fiction and fantasy—big epic settings, the fantastic, anything that makes me think, “Wow.”
What genres would you like to explore in the future?
I’d like to write a novel-length love story at some point, just because it’s something I haven’t tackled yet. Also, space opera.
Structure
Do you work from an outline?
I try to, though the outline never reveals as much as I’d like it to. I always make new discoveries as I write.
Plot
How do you build your story?
I just keep asking questions. What happens next? Why? How does it tie back to what happened before? Then what?
Character
For you, what makes a great hero?
Heart. They don’t need to be great, or the most powerful, or the chosen one, or whatever. They have to have a good heart.
If one of your characters were to describe you, what would he or she say?
No clue. It depends on the character, I suppose.
Setting
How much time do you spend researching the setting for your stories?
It depends on the story. Quite a bit, because the better picture of the setting I have in my head, the clearer it will be on the page. And I like to travel.
What settings would you like to explore in the future?
Space opera again—and I’d like it to be semi-accurate, which will require some astronomy research. I enjoy that, so it isn’t a hardship.
Theme
Do you like to know the purpose of your story before you sit down to write it?
Maybe in a general sense, but the threads more often reveal themselves in the course of writing. Theme usually comes through more strongly in revision. I usually know the end of a story before I start.
Dialogue
Do you have any favorite lines from your stories?
Pretty much anything Kitty says is awesome, I think.
Writing Process
Do you have a routine? A certain place to write? Do you listen to music?
I do listen to music. I try to write every day, but not always at the same time of day. I’m usually at my desk and computer, though sometimes I wander off with a notebook and pen.
How do you deal with writer’s block?
If I’m blocked it usually means the story has taken a wrong turn. I’ll set that project aside and work on something else for a few days. When I come back, I’ve usually worked out what’s wrong and how to fix it.
Story Development
How do you go about fixing a story?
I listen to my gut. If something’s boring or not working, my gut tells me. I rework the outline and make sure what the story is actually saying matches what I want it to say. I try to read as a reader, not a writer.
How do you know when to stop?
When it looks right. When I can’t think of anything else to do to it. When I stop thinking, “No one will notice if I leave this broken bit here.”
Words of Advice
What advice would you give to new writers?
Write a lot. Read a lot. Analyze what you read. Try to do the stuff you like in other books, and avoid doing the stuff you hate.
Zombie Apocalypse
What is your plan for the zombie apocalypse?
Antibiotics.
Final Thoughts
What’s the best thing you’ve ever written?
My opinion on that keeps changing.
What were you working on at the time of this interview?
I was working on the sequel to my superhero novel After the Golden Age, along with short stories and planning future Kitty books.
Closing
This interview preserves a candid moment in Carrie Vaughn’s creative life, capturing her approach to storytelling as an evolving practice shaped by curiosity, discipline, and instinct. It is presented here as part of the Better Storytelling Archive, honoring the voices and working methods of contemporary storytellers.