An Interview with David Brin
Interview conducted c. early 2010s
Introduction
David Brin is a science fiction author, scientist, and futurist best known for novels such as The Postman, Startide Rising, Earth, and Existence. His work frequently explores the social consequences of technological change, the tension between dogma and adaptability, and the collective processes by which civilizations endure.
This interview was conducted during a period when Brin was reflecting on the intertwined roles of science and storytelling in shaping humanity’s future. The conversation ranges across idea generation, character construction, narrative structure, and the ethical responsibilities of speculative fiction, drawing on Brin’s dual background as both researcher and novelist.
Brin’s responses reveal a worldview rooted in curiosity, skepticism, and optimism tempered by rigor. He approaches storytelling as a tool for testing ideas—one that complements science by exploring consequences that cannot yet be measured, but must still be imagined.
This interview is preserved as part of the Better Storytelling Archive, documenting the voices and working methods of contemporary genre creators.
DavidBrin_Interview
The Interview
Life as a Writer
How did you get into writing?
Writing is a worthy calling—one that can, at times, achieve great heights that ennoble the human race. In fact, I believe writing was the first truly verifiable form of magic. Imagine how astonishing it must have been to see marks pressed into clay conveying the words of people long dead. Knowledge could finally accumulate; death lost part of its sting.
That said, writing was not my first career choice. I came from a family of writers, so it was in my blood, but I wanted to be a scientist—and by the fates, I became one. Science, the disciplined pursuit of truth, struck me as the nobler calling: a team effort devoted to dismantling the pretty lies we tell ourselves.
Writing remained a hobby. I assumed I’d publish a few stories a year, perhaps a novel occasionally, while pursuing research and teaching. But science is hard, and it turns out I’m better at art than at discovering new truths. Civilization seemed to agree—people paid me more to write novels than they ever did to work in a lab.
When did you first realize that you have what it takes to be a writer?
I always knew I had a gift for storytelling and dialogue. I expected modest success as a part-time writer while doing science. Instead, the writing took off. Now I’m a part-time, guerrilla scientist—dabbling when curiosity strikes—while writing has become my primary profession.
Premise
Where do you get your ideas from?
Everything. Literally. It’s no accident that one of my novels is titled Existence.
How do you develop your ideas into a story?
From every possible angle. Sometimes I start with a character or a dramatic scene, as in The Postman. Sometimes with a line of dialogue. Often it’s a technological gimmick—something that could change everyone’s lives or redefine what “life” even means, as in Kiln People. And sometimes it’s a world: a future my children might inhabit, shaped by the dense weave of this one.
Genre
What kind of stories do you enjoy working with?
Stories with interesting characters caught in periods of rapid change, facing problems that unfold faster than comfort allows.
What genres would you like to explore in the future?
I often tell students to start with a murder mystery. That genre teaches you how to construct a story arc—how to plant clues that foreshadow the truth without revealing it too soon. Once you master that, you can write anything. I try to apply those lessons to all my work.
Structure
Do you work from an outline?
Sometimes. I probably should more often—it has worked well. But there are times when I need to get to know the characters first, listen to them, learn their hang-ups. Then the plot reveals itself.
Plot
How do you build your story?
Even when I don’t know the ending, I’m always foreshadowing—planting hints, clues, and red herrings. Eventually I figure out which is which and tighten the climax accordingly.
Character
For you, what makes a great hero?
Not demigods or predestined princes. Not solitary wizards or super-beings with tiny force-creatures in their blood. My characters are often above average because those are the kinds of people civilizations push forward to face looming crises. But they must work together—arguing, disagreeing, sometimes despising one another. That’s how our world was actually built.
If one of your characters were to describe you, what would they say?
“Brin’s had a pretty soft authorial life and plays god with us fictional types—but at least he listens when we argue with him. Or maybe that’s just him talking to himself again.”
Setting
How much time do you spend researching the setting for your stories?
Constantly. Even when I’m asleep.
What settings would you like to explore in the future?
All of them.
Theme
Do you like to know the purpose of your story before you sit down to write it?
Often. I have strong views that people have too many strong views. Characters who are rigid—left, right, or simply obstinate—tend not to fare well in my books. Rigidity, in nature, is death.
Dialogue
Do you have any favorite lines from your stories?
Plenty. They’re my other children.
Writing Process
Do you have a routine?
I keep multiple projects going in parallel. It helps prevent stagnation—and preserves what precious lifespan remains.
How do you deal with writer’s block?
By not indulging it.
Story Development
How do you go about fixing a story?
I was raised by a newspaper editor, so my instinct is always to tighten. I circulate manuscripts to dozens of prereaders and track where they put the book down—to eat, sleep, or tend real life. Those are the places that need work.
How do you know when to stop?
Endings aren’t a problem for me. Beginnings are. The first third—establishing momentum, world, and pace without losing the reader—that’s the hardest part.
Words of Advice
What words of advice would you give to new writers?
The opening pages matter more than almost anything. Editors decide very quickly whether to keep reading, and the first paragraph must sing.
A good novel requires mastery of many elements—character, plot, dialogue, empathy, action, ideas. Many writers excel at some but fail at others. Editors call these writers “tragic.” It’s up to you to discover and fix your weak points, and the only way to do that is through hard work and honest feedback.
Final Thoughts
What’s the best thing you’ve ever written?
Always the most recent. Though I’ll admit affection for The Postman, Glory Season, Kiln People, The Practice Effect, and of course Startide Rising. Those dolphins in space helped pay for my house.
What are you working on now?
Readers want more Uplift, and I hope to return there. I’m also working on a science-fiction comedy and a young-adult series involving aliens kidnapping a California high school—and living to regret it.
Closing
This interview captures David Brin’s vision of storytelling as intellectual exploration—an extension of scientific curiosity by other means. His reflections emphasize adaptability, skepticism, and collective problem-solving, offering insight into how speculative fiction can interrogate the future while remaining grounded in human experience.
Presented here as part of the Better Storytelling Archive, this conversation preserves a voice shaped by science, imagination, and an enduring belief in civilization’s capacity to learn.