Roger Joseph Zelazny was an American writer of fantasy and science fiction short stories and novels. He won the Nebula award three times, with 14 nominations, and the Hugo award six times, also with 14 nominations, including two Hugos for novels: the serialized novel ...And Call Me Conrad (1965; subsequently published under the title This Immortal, 1966) and the novel Lord of Light (1967).

See also:

The Chronicles of Amber

Lord of Light

Sourced

• At the end of the season of sorrows comes the time of rejoicing. Spring, like a well-oiled clock, noiselessly indicates this time.
  • Opening lines from Zelazny's first published story, Passion Play (1962)

• Occasionally, there arises a writing situation where you see an alternative to what you are doing, a mad, wild gamble of a way for handling something, which may leave you looking stupid, ridiculous or brilliant — you just don't know which. You can play it safe there, too, and proceed along the route you'd mapped out for yourself. Or you can trust your personal demon who delivered that crazy idea in the first place.
  Trust your demon.
  • Introduction to Passion Play (1962)

• The universe did not invent justice. Man did. Unfortunately, man must reside in the universe.
  • Charles Render, from the novella He Who Shapes (1965) and the novel The Dream Master (1966)

• Insofar as I may be heard by anything, which may or may not care what I say, I ask, if it matters, that you be forgiven for anything you may have done or failed to do which requires forgiveness. Conversely, if not forgiveness but something else may be required to insure any possible benefit for which you may be eligible after the destruction of your body, I ask that this, whatever it may be, be granted or withheld, as the case may be, in such a manner as to insure your receiving said benefit. I ask this in my capacity as your elected intermediary between yourself and that which may not be yourself, but which may have an interest in the matter of your receiving as much as it is possible for you to receive of this thing, and which may in some way be influenced by this ceremony. Amen.
  • The Agnostic's Prayer from Creatures of Light and Darkness (1969)

• Yeah, the mythology is kind of a pattern. I'm very taken by mythology. I read it at a very early age and kept on reading it. Before I discovered science fiction I was reading mythology. And from that I got interested in comparative religion and folklore and related subjects. And when I began writing, it was just a fertile area I could use in my stories.
  • "A Conversation With Roger Zelazny" (8 April 1978), talking with Terry Dowling and Keith Curtis in Science Fiction Vol. 1, #2 (June 1978)

• I see myself as a novelist, period. I mean, the material I work with is what is classified as science fiction and fantasy, and I really don't think about these things when I'm writing. I'm just thinking about telling a story and developing my characters.
  • "A Conversation With Roger Zelazny" (8 April 1978), talking with Terry Dowling and Keith Curtis in Science Fiction Vol. 1, #2 (June 1978)

• Goodbye, and hello, as always.
  • The Courts of Chaos (1978)

• "It is no shame to lose to me, mortal. Even among mythical creatures there are very few who can give a unicorn a good game."
  "I am pleased that you were not wholly bored," Martin said. "Now will you tell me what you were talking about concerning the destruction of my species?"
  "Oh, that," Tlingel replied.
  • Unicorn Variation (1982)

• Death is the only god that comes when you call.
  • 24 Views of Mt. Fuji, by Hokusai (1985) - Review of 24 views, with images

• Every now and then it's nice to stop and just look over what you've been writing and the way you've been writing it and sort of reassess it, and see if you've fallen into bad habits or there's something you'd like to get better at. One way of reexamining your own work is to work with somebody else. It's a learning experience. I don't want to get into a rut.
  • As quoted in "Forever Amber" (October 1991)

Phlogiston interview (1995)

An Interview with Roger Zelazny by Alex Heatley in Phlogiston Forty Four (1995)

• Well, I decided that as a teenager that I really didn't know enough to describe character well and I was wasting my time. I'd learned as much as I could about story telling techniques and it wasn't a matter of technique any more. It was a matter of substance. As a result I said I was going to wait until I was a lot older and had more experience. So it was that after I got out of college I'd been away from SF for about four years. I'd read SF steadily from when I was eleven until I started college. When I started college I said, "I'm not going to read that while I'm here, I'm going to learn poetry and other things of that sort" in fact I wrote a lot of poetry then.

• I'd had a long talk with Bob Silverberg, who was very influential on my early career. He'd, out of the kindness of his heart, at a convention told me that he thought I'd made several mistakes in the way I was disposing of my stories. And I said, "I don't understand what you mean, but I'll be glad to buy you a few drinks, if you'll tell me about it". So we adjourned to the bar and sat there a couple of hours. He was drinking Bloody Marys back then; I was drinking Black Russians. And he told me all sorts of things which carried me over the next several years; it was a lot of information for a couple of drinks. He told me that the first thing I should do if I wanted to write full-time was to get a really good agent. He said that after a while the business end of writing takes too much of the writing time. Better to pay someone ten percent and find that you're still more than ten percent ahead in the end.
  Which is true. My present agent says that he always feels that a good agent during the course of a year should earn back for his client at least the ten percent he takes by way of commission, so the client's really nothing out. And what he should ideally do is make him more money than the ten percent.

• I try to write every day. I used to try to write four times a day, minimum of three sentences each time. It doesn't sound like much but it's kinda like the hare and the tortoise. If you try that several times a day you're going to do more than three sentences, one of them is going to catch on. You're going to say "Oh boy!" and then you just write. You fill up the page and the next page But you have a certain minimum so that at the end of the day, you can say "Hey I wrote four times today, three sentences, a dozen sentences. Each sentence is maybe twenty word long. That's 240 words which is a page of copy, so at least I didn't goof off completely today. I got a page for my efforts and tomorrow it might be easier because I've moved as far as I have".

• My favorite form is the short story. From an aesthetics stand point you really have to pare down to the bone. You can't write a throw-away scene.

Others about Zelazny

listed alphabetically by author

• His stories are sunk to the knees in maturity and wisdom, in bravura writing that breaks rules most writers only suspect exist. His concepts are fresh, his attacks bold, his resolutions generally trenchant. Thus leading us inexorably to the conclusion that Roger Zelazny is the reincarnation of Geoffrey Chaucer.
  • Harlan Ellison in his editorial introduction to the Zelazny story "Auto-da-Fé" in Dangerous Visions (1967), p. 524

• Zelazny, telling of gods and wizards, uses magical words as if he himself were a wizard. He reaches Into the subconscious and invokes archetypes to make the hair rise on the back of your neck. Yet these archetypes are transmuted into a science fictional world that is as believable — and as awe-inspiring — as the world you now live in.
  • Philip José Farmer, in a promotional blurb for The Last Defender of Camelot‎ (1980) by Roger Zelazny

• Roger Zelazny died as I completed the first chapter of The Wake and his memorial informed the second chapter.
  • Neil Gaiman in his Afterword to The Wake (1996), the final set of stories in The Sandman.

• For absent friends — Kathy Acker and Roger Zelazny, and all points between.
  • Neil Gaiman in his dedication for American Gods (2001)

• Zelazny likes to develop different systems of magic, but his emphasis is on systems. He feels the magic should be worked out and contain no contradictions. It should run more like science and not be too supernatural in which anything goes. That route leads to magic being a crutch to move the plot along. He also likes to use the mystery plot. He feels that there is an elegance to having a puzzle overlaid on a fantasy or SF novel. The mystery helps build the mythic elements in fantasy, but is also akin to the process of discovery in science.
  • Summary of an interview by Garner Johnson in PUP # 1 (March 1994)

• He was a poet, first, last, always. His words sang.
  He was a storyteller without peer. He created worlds as colorful and exotic and memorable as any our genre has ever seen.
  • George R. R. Martin in "In Memoriam: Roger Zelazny — The Lord Of Light" (June 1995)

• Sadly, at least two wonderful "untold tales" of the Sleeper were lost when Roger Zelazny passed away. I know that Roger had always intended to bring back Croyd's boyhood friend Joey Sarzanno, and tell the story of the crystallized woman that Croyd kept in his closet. But he never had the chance, and now he never will. Croyd will continue to be a part of Wild Cards — Roger deliberately crafted the character so he would be easy for the other writers to use, and always delighted in seeing what we did with him — but it would take an unusual amount of hubris for any of us to attempt to write either of those two stories, and it is not something I would encourage. They were Roger's stories. No one else could do 'em justice.
  • George R. R. Martin in an interview about Wild Cards — Inside Straight (30 November 2007)