An Interview with Raymond E. Feist
Interview conducted c. early 2010s
Introduction
Raymond E. Feist is a foundational figure in modern epic fantasy, best known for Magician and the long-running Riftwar cycle. His work has helped define large-scale secondary-world storytelling, combining character-driven narratives with political conflict, moral consequence, and expansive mythic scope.
This interview was conducted during a period when Feist was reflecting on decades of professional writing experience while nearing the conclusion of a major narrative cycle. The conversation focuses on character priority, discovery-driven storytelling, resistance to formula, and the long apprenticeship required to master narrative craft.
Feist’s responses reveal a pragmatic, experience-hardened philosophy of storytelling. He emphasizes practice over theory, character over spectacle, and personal process over prescriptive rules, offering a candid perspective shaped by longevity rather than trend.
This interview is preserved as part of the Better Storytelling Archive, documenting the voices and working methods of contemporary genre creators.
RaymondFeist_Interview
The Interview
Life as a Writer
How did you get into writing?
By accident. I was involved in a fantasy role-playing game in college and began writing stories set in that world. Eventually I felt compelled to tell a serious story, which became Magician.
When did you first realize that you have what it takes to be a writer?
Halfway through writing Magician, I was laid off from my job. Friends offered to help cover my rent and food so I could finish the book. That was when I realized other people believed in the work.
Premise
Where do you get your ideas from?
Everyone has ideas. Writers are simply people who grab odd thoughts and wrestle them into stories. Ideas aren’t rare—execution is.
How do you develop your ideas into a story?
By asking practical questions: who is the point-of-view character, how did they get here, why should I care, and how does it end? Every writer works differently. There are no shortcuts or universal tricks.
Genre
What kind of stories do you enjoy working with?
Character-driven stories. No matter how fantastical the situation, the character must be someone the reader cares about. I’m interested in stories about sacrifice, responsibility, and the price of serving something larger than oneself.
What genres would you like to explore in the future?
I’d enjoy writing crime farce, science fiction, or historical fiction, but time constraints mean I’ll likely continue writing fantasy.
Structure
Do you work from an outline?
No. I need to know the ending, but I don’t outline. My subconscious does the real work, and I often surprise myself along the way.
Plot
How do you build your story?
Each story is unique. Plot and story are not the same thing. Plot is events; story is meaning. You must give the reader someone to root for, and if characters are talking instead of acting, they’d better be saying something important.
Character
For you, what makes a great hero?
Someone who shows grace under pressure—who does what must be done despite fear. Fearless characters aren’t heroic; they’re unrealistic. Stakes only matter if fear exists.
If one of your characters were to describe you, what would they say?
Opinionated know-it-all. But a snappy dresser.
Setting
How much time do you spend researching the setting for your stories?
Very little. With enough life experience and basic research, most settings take care of themselves. Readers will forgive invention, but not factual errors they know to be wrong.
What settings would you like to explore in the future?
In fantasy, I build worlds rather than explore existing ones.
Theme
Do you like to know the purpose of your story before you sit down to write it?
The purpose is to entertain. Any theme or message is incidental. If you want to preach, write essays—not adventure fiction.
Dialogue
Do you have any favorite lines from your stories?
No single line stands out across that many books.
Writing Process
Do you have a routine?
I prefer writing in the morning, when I’m rested and sharp. Afternoons are for living. While I can write under deadline pressure, mornings are when the work feels right.
How do you deal with writer’s block?
I don’t believe in it. It’s usually a signal that something else in your life needs attention. Deal with that problem, and the writing returns.
Story Development
How do you go about fixing a story?
I don’t. I avoid breaking it in the first place.
How do you know when to stop?
You must know the ending before you begin. Otherwise, you’ll wander endlessly.
Words of Advice
What words of advice would you give to new writers?
Practice. Writing is no different from music or painting. No shortcuts. No secret techniques. Skill comes from years of work. I have decades of muscle memory—and that matters.
Final Thoughts
What’s the best thing you’ve ever written?
My next book.
What are you working on now?
Magician’s End, concluding the Riftwar cycle.
Closing
This interview captures Raymond E. Feist’s unsentimental view of storytelling as disciplined practice rather than mystical inspiration. His reflections emphasize endurance, character focus, and respect for the reader—principles forged through decades of sustained narrative work.
Presented here as part of the Better Storytelling Archive, this conversation preserves a voice shaped by experience, independence, and a clear-eyed understanding of what it takes to build stories that last.