An Interview with Terry Brooks
Interview conducted c. early 2010s
Introduction
Terry Brooks is a foundational figure in modern epic fantasy, best known for The Sword of Shannara and the long-running Shannara series. His work helped establish fantasy as a commercial mainstream genre, combining mythic structure, moral responsibility, and expansive secondary worlds with enduring popular appeal.
This interview was conducted during a period when Brooks was reflecting on decades of professional storytelling experience while continuing to expand a major narrative cycle. The conversation focuses on perseverance, work ethic, thematic intent, and the long discipline required to sustain epic fiction over many years.
Brooks’s responses reveal a storyteller grounded in endurance rather than mystique. He emphasizes preparation, moral clarity, and responsibility to the reader, offering a perspective shaped by longevity, editorial rigor, and lived experience in the business of storytelling.
This interview is preserved as part of the Better Storytelling Archive, documenting the voices and working methods of contemporary genre creators.
TerryBrooks_Interview
The Interview
Life as a Writer
How did you get into writing?
It’s hard to say exactly. I always loved storytelling and role-playing, long before those things had names. As a child, I organized neighborhood games and invented scenarios. I wrote my first important short story when I was ten—a haunted house tale for school. My fourth-grade teacher gave me an A+, and I kept writing.
When I was thirteen, I published a short piece in an Illinois historical journal. About twenty years later, The Sword of Shannara was published.
When did you first realize that you have what it takes to be a writer?
During the writing of my second Shannara book. My editor told me it wasn’t good enough and that I needed to start over. The first book had come easily, but the second required a complete rewrite. That experience taught me that what matters most is perseverance, work ethic, and a strong stomach.
Premise
Where do you get your ideas from?
Ideas are easy. Turning them into a full book is what’s difficult. I get many ideas from reading the newspaper. One thing suggests another. When I find myself troubled or uncertain about what I believe, I know I’m ready to write. Not every idea leads to a book, but eventually one does.
How do you develop your ideas into a story?
I think about them—sometimes for years. Eventually I start making notes, which lead to outlines, character sketches, and a thematic framework. When I can’t stand thinking anymore, I start writing. Ideas themselves are the easiest part of the process.
Genre
What kind of stories do you enjoy working with?
Big, long, sweeping sagas. Short fiction doesn’t suit me. I prefer stories that can unfold across multiple books.
What genres would you like to explore in the future?
Fantasy. Always fantasy.
Structure
Do you work from an outline?
Yes, though less rigidly than I once did. Experience reduces the need for heavy structure, but experimentation becomes more important the longer you work. After decades in the field, you must keep challenging yourself.
Plot
How do you build your story?
First, find a hook—something that holds your interest long enough to sustain a year of work. A writer’s first obligation is to tell a good story. My editor, Lester del Rey, taught me that nothing matters more than engaging the reader. Theme and complexity grow out of that commitment.
Character
For you, what makes a great hero?
I come out of the Tolkien tradition. I like flawed protagonists—ordinary people facing overwhelming circumstances not of their choosing. They accept moral responsibility, endure hardship, and persist despite fear.
If one of your characters were to describe you, what would they say?
Either that I made them feel very real—or that I made them suffer far too much.
Setting
How much time do you spend researching the setting for your stories?
I don’t research settings formally. I travel, take photographs, and make notes. Sometimes a place suggests a story. In fantasy, setting becomes a character in its own right, and the reader must experience it fully.
What settings would you like to explore in the future?
I’m finishing the Shannara cycle, both past and present, so those worlds will continue to deepen.
Theme
Do you like to know the purpose of your story before you sit down to write it?
Absolutely. Writing without knowing the purpose is dangerous. Endings should not feel arbitrary. A writer must understand what the story is about from the beginning.
Dialogue
Do you have any favorite lines from your stories?
All my words are golden—except for the ones cut by my wife, editors, proofreaders, and others. Once a book is finished, I don’t dwell on it. My satisfaction comes from the next one.
Writing Process
Do you have a routine?
Yes. I have dedicated writing spaces in two states, and I work only there. Everything must be exactly right. I don’t listen to music. Silence is essential—except for the ocean.
How do you deal with writer’s block?
It doesn’t exist. If you’re stuck, either you need a break or you took a wrong turn in the story. Back up and find the correct road.
Story Development
How do you go about fixing a story?
If it needs extensive repair, I start over. Remodeling a broken story is harder than rebuilding from scratch. Experience helps you avoid major mistakes.
How do you know when to stop?
If you know the ending in advance—which I always do—you write until you reach it.
Words of Advice
What words of advice would you give to new writers?
If writing isn’t the most important thing in your life, quit now. If the process isn’t more important than publication, quit now. If money is your primary concern, quit now. But if you feel incomplete when you’re not writing, you should continue—for therapeutic reasons, if nothing else.
Final Thoughts
What’s the best thing you’ve ever written?
That’s like choosing among children. But if pressed—Running with the Demon.
What are you working on now?
A trilogy titled Shannara’s Dark Legacy.
Closing
This interview captures Terry Brooks’s view of storytelling as endurance, responsibility, and moral commitment. His reflections emphasize discipline, clarity of purpose, and loyalty to 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, persistence, and a deep respect for the craft of epic storytelling.