The conversation opened with Richard talking about his background in film and growing up in Southern California. He described his work as an independent filmmaker, screenwriter, and freelance development producer, and how deeply embedded he has been in the indie film world. Writing To Conquer Death, though, was something completely different for him. The idea started life as a screenplay, but it quickly became obvious that the story was far too big for film, both in scope and in budget. That realisation pushed him back toward prose, where he found himself rediscovering storytelling from a fresh angle.

A big part of our discussion focused on the differences between writing for the screen and writing a novel. Richard explained that screenplays demand tight, visual, highly economical language, whereas prose allows far more room for depth, texture, and atmosphere. His first attempt at the book leaned too heavily on his screenwriting instincts, and he was very candid about the result. In his own words, that first draft was flat and overly constrained.

The initial draft took around seven months to complete, but the real work came afterwards. Editing and revising the book stretched on for more than two years. During that time, Richard reworked the structure, sharpened character arcs, and removed sections that slowed the story down. One of the hardest lessons was learning to cut scenes he loved when they were not serving the book as a whole.

Collaboration turned out to be essential. Richard spoke warmly about his close circle of writer friends and beta readers, who were willing to be blunt about what was not working. He stressed how valuable honest critique is, especially when it focuses on problems rather than praise. Feedback from contests and outside readers also played a part in shaping the final version of the novel.

We then dug into the book itself. To Conquer Death is set during the Bronze Age collapse, a chaotic and poorly understood period beginning around 1200 BC. Richard described it as a historical black hole, where major civilisations such as Mycenaean Greece and Babylon unravelled within a few decades. That uncertainty gave him the freedom to blend historical fantasy with horror. The story follows two Egyptian brothers and two European refugees as they travel through a world destabilised by mass migration, violence, and a spreading darkness tied to the undead.

World building brought its own challenges. Richard wanted the setting to feel grounded in real history without alienating modern readers. He carried out extensive research into ancient Egyptian, Greek, and Mesopotamian cultures, but made a deliberate choice to write in clear, modern English. At the same time, he avoided modern idioms and concepts that would feel out of place. He gave examples of consciously steering clear of references rooted in later Greco-Roman thinking.

Religion plays a central role in the story. Richard explored how ancient Egyptian beliefs about death, mummification, and the afterlife could logically intersect with supernatural elements. The collision of multiple cultures, each with their own gods, myths, and rituals, added tension and thematic depth to the narrative.

Toward the end of the episode, we talked about his route to publication. After querying agents without success, Richard opted for a hybrid publishing model with Atmosphere Press. He spoke positively about the editorial support, cover design, and promotional help he received. While he acknowledged the financial cost, he valued having creative control and a clear say in how the book was presented.

When it came to advice for other writers, Richard kept things practical. He encouraged writers to give themselves permission to write badly in early drafts and not to obsess over structure too soon. He also talked about stepping away from the desk when stuck, noting that breakthroughs often happen while walking, jogging, or doing something completely unrelated. Staying open to feedback, trusting your instincts, and always keeping a notebook close were recurring themes.

Overall, the interview painted a clear picture of what it takes to move between creative mediums. Richard’s journey shows the persistence, flexibility, and attention to detail required to turn a big idea into a finished novel. It is also a reminder of how powerful storytelling can be when history, imagination, and personal experience are allowed to inform each other. Blimey, did you read all of this?

Discuss it all here: https://richardsonsrubicon.com/community/season-5-speculative-fiction-where-worlds-meet/the-language-of-ancient-worlds-modern-words-in-historical-fantasy/#post-79