Empyre is your second novel. How did the process work for you the second time around? Were there any changes to the way you worked?

As far as the actual act of writing, I try to keep it the same. I get up early, brew up about a gallon of coffee and start writing before self-doubt can creep in. My office is just big enough for a chair, desk, computer and me. I settle in, pump up the music on my headphones and write for at least three hours.

I don’t know about other writers, but my choice of music really impacts the tone of what I’m writing. Here were some of my favorites while writing EMPYRE. As you’ll see, it’s pretty eclectic: Massive Attack – Mezzanine, Zero 7 – Simple Things, David Gilmour – On an Island, Philip Glass’s Violin Concertos, Vartina – a band from Finland, The Duhks, DJ Z-Trip. There’s also a DJ named Michael Smith in LA whose tracks are great.

Mentally, writing EMPYRE was a new experience. With ECHELON, there was no pressure; I just wanted to see if I could write a novel. With EMPYRE, there were more expectations. But I hope those expectations made EMPYRE a better book.

When Empyre opens it's been five years since the conclusion of Echelon. What's happened to Ryan and Sarah's world in that time?

EMPYRE starts where most sci-fi ends: Big Brother is dead and freedom reigns. The question that drives EMPYRE is – what happens the next day? How would society react to its newfound freedom? And how about Ryan and Sarah – the two responsible for this massive shift in world affairs? What happens to them?

At the end of ECHELON, Ryan and Sarah took down a system of total information control. Now, five years later the world is reeling from the loss. EMPYRE opens on a reality that looks much like ours. There’s a lot of fear, confusion and chaos. As for Ryan and Sarah, neither has reacted well to the world they created.

So, to answer your question, EMPYRE starts with the chaotic reality behind Echelon’s “happily-ever-after” finale. From there, I tried to create a mile-a-minute thrill ride, incorporating the best of sci-fi and spy thrillers. EMPYRE’s got wild technology, a behind the scenes peek into the future of espionage, and a plot that, hopefully, will keep you guessing.

I should also say that EMPYRE is a stand alone novel. No need to read ECHELON to enjoy EMPYRE. The two books compliment, but don’t depend on, each other.

Both transhumanism and singularity factor into Empyre as themes. For people unfamiliar with those terms could you explain them and how they fit into your story?

Both concepts lie at the basis of EMPYRE. But, before I get into them, I should say that EMPYRE is written to be fast and fun. The “deeper” themes serve as a backdrop for the story.

Now, into those themes… Transhumanism deals with the ever-increasing integration between man and machine. It looks at the consequences of our interaction with technology. Many feel that this integration will be a boon for humanity, and many feel that it will lead to disaster.

The Singularity is related to this integration, and to the general progress of technology. There are many definitions for the Singularity, but I think of it as the point where we can no longer predict the future based on the past. Due to advances in technology, our existence shifts to the point where it becomes something completely new.

How does all this relate to my books? ECHELON deals with a world on the edge of the Singularity. The Singularity has been held back by a system of total information control. Once that restraint is gone, the rate of progress goes exponential, driving the world to the Singularity’s tipping point. EMPYRE looks at what may happen as the world teeters over that point.

As to transhumanism, Ryan is the first true cyborg – a total integration of man and machine. There’s a lot in sci-fi about cyborgs, but usually from the perspective of a far future where the character is totally comfortable with such a situation. Ryan isn’t that guy. He’s the test case, the guinea pig. As such, his experience and evolution are rocky to say the least. The technology within him offers power, but comes at a price.

All of this lies underneath EMPYRE’s story, creating the world in which my characters operate. And while it may seem like a far future scenario, I think we’ll deal with many of these issues in our lifetime. The rate of progress continues to increase. As such, EMPYRE looks at a future that may not be that far off.

Sarah Peters takes on a much more direct role in Empyre. She has become a biomechanical junkie in a sense in that she continues to upgrade herself. Why did you decide to alter her character so drastically?

I’m not sure her character is altered; EMPYRE just continues her story. Sarah has tremendous inner strength. In ECHELON, she was a far stronger person than Ryan. She buoyed him. Events in EMPYRE test her strength and push her right up to the breaking point.

Neither Ryan nor Sarah begin EMPYRE in the best of conditions. Both are traumatized by the chaos around them – chaos they caused. How each deals with that trauma differs.

Ryan removes himself from the world. Sarah plunges back into it. Her interaction with technology gets wrapped up in the psychological issues she’s dealing with. I think that as we internalize technology, such a condition will become more and more common. The way we see ourselves will shift with the technology we develop – a fact that’s both exciting and terrifying.

You also introduce the gleefully foulmouthed CIA agent Frank Savakis. Where did Frank come from?

Glad you mention him; he’s a favorite of mine. Frank was inspired by a couple real people from the world of espionage. In Frank, I was trying to create a counterpoint to Ryan – a guy who is boisterous and crude, but also a true believer. While Ryan has lost the faith that drove him through most of his life, Frank hasn’t. He’s fully committed to his country and to what the CIA is doing in EMPYRE. That clarity of purpose both makes him powerful and narrows his vision. For much of the story, Ryan envies Frank’s faith.

Empyre continues the extremely visual setting from Echelon. Do you just let your imagination run wild or do you try to have basis in reality?

I loved the idea of Manhattan protected by a surge wall that doubles as a surveillance platform, a floating city/state and a hovering hospital airship.

I’d say EMPYRE is a combination of reality and imagination. I’m fascinated by the impact of technology on our lives. As such, everything I write has its basis in reality. I spend a lot of time researching what’s on the cutting edge to come up with my possible future. On my website (www.joshconviser.com) I outline some of the actual technology that inspired EMPYRE.

I really got into conceiving a possible future for Manhattan. I’ve spent a lot of time in the city and always find it slightly claustrophobic. Adding the surge wall you mention only heightens that sense. Then I amped even that by making Manhattan into a reverse Panopticon. I’m fascinated by the idea of living under an invisible, omniscient eye – of never knowing if you’re being watched – and thus having to assume that you’re under constant surveillance. How would such a state shift life in a city?

It’s something we’re all going to have to deal with as we move into the future. Like it or not, eavesdropping - be it by the government or the private sector - is only going to increase. I’m interested in how this will impact our experience of the world.

Ryan Laing continues to gain more control over his drones and he becomes something pretty amazing at the end of Empyre. Do you ever worry about creating a hero who might be too powerful?

Of course. In Ryan, I’m looking to create a bad ass – next century’s Bond or Bourne. But, he also needs to have the weaknesses and frailties (both physical and mental) that make him human. In EMPYRE, Ryan’s integration with the technology inside him becomes more complete, but new threats also come up that drastically impair his abilities. I made sure the threats in EMPYRE equaled Ryan’s abilities.

We learn that Empyre was created to be a more direct and violent method of controlling the world from Laing's mentor Christopher Turing. Empyre also created an opposite number to Laing in Alfred Krueger. When you began working on Ryan's story did you already have this planned out?

I had the general idea that Ryan would have an opposite with the same goal. That said, Krueger took a long time to develop. I’m a little hesitant to talk about him too much as I don’t want to ruin the suspense of the book. But suffice it to say that I’ve been pondering Krueger for years and I’m thrilled with how he turned out.

Ryan is forced with a horrific choice. He can either save the woman he loves or stop a madman who is planning to send the world down a path it might not recover from. Why not give him a little more to do?

That’s not enough?!

I love the intensity offered in both sci-fi and spy thrillers. The scope of decisions a character can be forced into within these genres can be monumental. My method is to create characters I understand personally, then throw them into situations far beyond any experience I’ll ever have and see how they react.

The ending of Empyre is powerful. Is it safe to assume that you are going to come back with a third book in the Ryan Laing series?

I always saw the Laing series in three parts. There’s a lot more to tell with Ryan. He’s not done yet…

You have coined the phrase "spy-fi" to describe your books. What can you say about this style?

EMPYRE is a near future spy thriller. It’s part Orwell, part William Gibson, part Robert Ludlum. I didn’t set out to write a genre buster; the ideas behind the series just led me down that path. That said, I think the sci-fi and spy thriller genres compliment each other in that they both offer a fresh angle from which to see our world. Sci-fi looks at our world through its possible future. Spy thrillers look at it through the filter of a clandestine reality lying underneath. Combining the two gave me a great foundation to develop a driving, exciting story with room for some deeper ideas.

Ryan and his world seem tailor made for comics. Have you given any thought to the possibility of exploring that medium?

I have. It’s in the works.

This summer you were part of a panel at the San Diego Comicon. What was that experience like?

It was great. I love Comicon. It’s a trip. And my panel included two of my heroes: David Morrell (Rambo) and Richard K. Morgan (Altered Carbon). One of the great parts of being writer is getting to meet other writers whose work I admire.

What else are you working on?

I’m working on two television series – one set in the world of espionage and one in my home town of Aspen, Colorado. I’m working on a feature called Inferno, which is a modern day adaptation of Dante’s poem set in Vegas. I’m producing a CGI Animation film for Fox. And, with EMPYRE on the shelves, I guess there’s no excuse not to get started on the next book!