Born in Richland, Washington, Orson Scott Card grew up in California, Arizona, and Utah. He lived in Brazil for two years as an unpaid missionary for the Mormon Church. He received degrees from Brigham Young University (1975) and the University of Utah (1981). He is the author of such popular books as The Tales of Alvin Maker, Ender’s Game, and The Homecoming Saga. He also has written books on characterization and writing science fiction. He teaches aspiring writers, as well. Back in 2000, he participated in a Q&A interview with the players of OtherSpace.
Sheridan asks: Mr. Card, where did your inspiration for Ender’s Game come from?
Orson Scott Card answers: A combination of things:
As a child, I was given a copy of “The Army of the Potomac,” a three-volume history that opened my eyes to what war is … how armies are created, how and why they fight, what difference leaders make … and in the sequence of commanders of the Army of the Potomac, as Lincoln searched for a good commander, I got some idea of what a struggle it is to find someone who knows what to do with an army when he has one.
Then, in my teens, I watched my older brother volunteer for the army and heard him talk when he came home on leave about what worked and what did not work in his training. Then, his soon-to-be-fiancee gave me Asimov’s Foundation Trilogy. I had been away from science fiction for a while, and these books seemed revelatory to me. They made me want to write science fiction. So … as my father drove me to high school one morning, I tried to think up some futuristic idea.
Thinking of my brother’s military training, I thought, how would you train soldiers for combat in space? The immediate answer was the battle room – a place that is contained within walls, so you don’t lose soldiers off in space during training; but still in null-G so they can get used to combat techniques.
A related question, though, was: How would you commanders to deploy and use them properly in three dimensional space with no down and no important gravity?
Here I drew on another book that I had read, after the Catton but before my brother joined the army – a book about the Lafayette Flying Corps of World War I, by Nordhoff and Hall. In this book, Nordhoff and Hall made a point of how hard it was for the early aviators to stop thinking in the horizontal plane – to look for danger coming from above or below. In thinking about three-dimensional combat, I realized that it isn’t just learning to think out of the horizontal. Instead, you have to learn to think without the standard up and down, because you can be trapped into that orientation and think of things as “below” or “above” that simply aren’t. I realized that the most useful way to think would be to conceive of the enemy as below you. Psychologically, this makes gravity-oriented humans think that charging is “easier” than retreating (grin).
Anyway, those ideas were all in place before I turned seventeen. But I wasn’t ready to write a story about it yet – a setting is not a story! Instead, my early sci-fi stories were those that eventually became The Worthing Saga. But when Ben Bova, then editor of Analog, rejected one of my Worthing stories in 1975, saying, more or less, I like the way you write, but this story is fantasy, and we publish science fiction. Well, I knew it was sci-fi, but I understood what Bova meant: It didn’t FEEL like science fiction. It needed hardware and rivets. So I thought again of the idea of the battle room and wondered who my character would be. It was only then that I realized that the time to start training people so they don’t have bad habits of thought is … as young as possible.
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