Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.

Every inch of my writing career has been influenced by my screenwriting education. I was lucky enough to go to film school at USC, and I got a crash course in how to tell a story efficiently. I learned structure, pace, my style, how to know your audience, and most importantly, how to take criticism and edits properly.

World-building is my favorite pastime, so with me, I'm always about reining myself in. I don't want to lose too much of the mystery by hammering every detail to death. I did fiddle with lots of maps for 'Glass Sword,' as the second installment sees Mare, Cal and company traveling throughout their country, and that's always fun for me.

My number one job at the end of the day is to entertain.

Suddenly the whole imagination of writing and editorial and newspaper and all these presumptions about who am I reading this, and who else other people may be, and all that, it's so grimly brutal!

Who are we?' And to me that's the essential question that's always been in science fiction. A lot of science fiction stories are - at their very best - evocations of that question. When we look up at the night sky and wonder, 'Is there anyone else out there?' we're also asking who we are we in relation to them.

There were aspects of stardom I didn't like, which were of no consequence, really, but the positive things far outweighed the negative. By the time I came to write 'Setting Sons,' I felt my writing was more like prose, set to music.

There's so much more that I want to do. Of course it's great what has happened so far: Ultra, Coachella, EDC. But still, production-wise and show-wise, I'd love to play a show at Madison Square Garden. Stuff like that is beyond my imagination.