Podcasts about clarion west

The Shrieking Horror ep.770 Andrea M. Pawley lives and writes in Washington, D.C.. She plans to start her own city quadrant as soon as the space-time continuum rips, and a new direction becomes available. Andrea attended Clarion West in 2017 and currently volunteers as the Science Fiction and Fantasy Writers Association Mentorship Program Coordinator. Her stories have appeared in Clarkesworld, Asimov's Science Fiction, and Cosmic Horror Monthly. Andrea's slightly odd takes on writing, art, and Washington D.C. can be found at www.andreapawley.com.   This story was originally published in The Nameless Songs of Zadok Allen and Other Things That Should Not Be, a March 2023 anthology edited by JayHenge Publishing.   ---- Listen Elsewhere ---- YouTube:  https://www.youtube.com/c/TallTaleTV Website: http://www.TallTaleTV.com   ---- Story Submission ---- Got a short story you'd like to submit? Submission guidelines can be found at http://www.TallTaleTV.com   ---- About Tall Tale TV ---- Hi there! My name is Chris Herron and I'm an audiobook narrator. In 2015, I suffered from poor Type 1 diabetes control which lead me to become legally blind for almost a year. The doctors didn't give me much hope, predicting an 80% chance that I would never see again. But I refused to give up and changed my lifestyle drastically. Through sheer willpower (and an amazing eye surgeon) I beat the odds and regained my vision. During that difficult time, I couldn't read or write, which was devastating as they had always been a source of comfort for me since childhood. However, my wife took me to the local library where she read out the titles of audiobooks to me. I selected some of my favorite books, such as the Disc World series, Name of the Wind, Harry Potter, and more, and the audiobooks brought these stories to life in a way I had never experienced before. They helped me through the darkest period of my life and I fell in love with audiobooks. Once I regained my vision, I decided to pursue a career as an audiobook narrator instead of a writer. That's why I created Tall Tale TV, to support aspiring authors in the writing communities that I had grown to love before my ordeal. My goal was to help them promote their work by providing a promotional audio short story that showcases their writing skills to readers. They say the strongest form of advertising is word of mouth, so I offer a platform for readers to share these videos and help spread the word about these talented writers. Please consider sharing these stories with your friends and family to support these amazing authors. Thank you!   ---- legal ---- All stories on Tall Tale TV have been submitted in accordance with the terms of service provided on http://www.talltaletv.com or obtained with permission by the author. All images used on Tall Tale TV are either original or Royalty and Attribution free. Most stock images used are provided by http://www.pixabay.com , https://www.canstockphoto.com/ or created using AI. Image attribution will be declared only when required by the copyright owner. Common Affiliates are: Amazon, Smashwords

Since coming through Clarion West in 2005, Cat Rambo's 300+ fiction publications have included stories in Asimov's, Clarkesworld Magazine, and The Magazine of Fantasy and Science Fiction, and frequently appear in year's best of collections. They work across genre, writing literary, thriller, science fiction, slipstream, fantasy, magic realism, historical, and humor with fluid ease, making them one of the leaders in American story writing. In 2013, Rambo's short story, “Five Ways to Fall in Love on Planet Porcelain” was a Nebula nominee and 2020 Rambo won the Nebula Award for their fantasy novelette Carpe Glitter, published by Meerkat Press. They have edited several anthologies as well as Fantasy Magazine, and received a World Fantasy Award nomination for their work with the latter. They have also written the writing book Moving from Idea to Finished Draft and co-edited Ad Astra: The SFWA 50th Anniversary Cookbook.A frequent reader for podcasts, Rambo is part of the team behind the If This Goes On (Don't Panic) podcast, and has worked with it since its beginning in 2020. They are a former two-term President of the Science Fiction and Fantasy Writers of America (SFWA) and continue to work with the organization as a mentor. Their most recent work is space opera Rumor Has It (Tor Macmillan, 2024); upcoming in 2025 is Wings of Tabat (Wordfire).For more about Cat, as well as links to fiction and popular online school, The Rambo Academy for Wayward Writers, see their website at catrambo.com 

S20 Ep28: In Which Mur and Sarah Pinsker Discuss Reality Shows, Workshops, and Writing Patience "I love the bingo card measure of success rather than the ladder of success." - Sarah Pinsker (This post went live for supporters on October 11 2024. If you want early, ad-free, and sometimes expanded episodes, support at Patreon or Substack!) In this episode, Mur welcomes the award-winning author Sarah Pinsker to discuss her latest book, Haunt Sweet Home. They dive into the fascinating world of reality TV shows and how Sarah's unique idea of a haunted house fixer-upper series evolved from a joke to a novella. Sarah shares her insights on the importance of patience in writing, especially when it comes to leveling up your skills for a project that feels just out of reach. They also explore the intricacies of different writing workshops, including Clarion West and the Milford method, and how these experiences shape a writer's journey. From the challenges of finishing stories to the agony of editing, Sarah offers invaluable advice on navigating the hurdles of the writing process. Tune in for a delightful conversation filled with practical tips, personal anecdotes, and a deep dive into the craft of storytelling. Transcript Links Sarah Pinsker's Home Page Haunt Sweet Home by Sarah Pinsker Tor.com Clarion West Cat Rambo Odyssey Writing Workshop Viable Paradise James Patrick Kelly The Milford Method Evergreen Links Like the podcast? Get the book! I Should Be Writing book. My newsletter, The Hot Mic, and my Patreon. Supporting either of those will get you perks like access to the discord, exclusive content, and early, ad-free episodes. Socials: Bluesky, Mastodon, TikTok, Instagram, YouTube, Focusmate. Theme by John Anealio Savor I Should Be Writing tea blends Support local book stores! Station Eternity, Six Wakes, Solo: A Star Wars Story: Expanded Edition and more! OR Get signed books from my friendly local store, Flyleaf Books! All books featured in Season 20   "Unveiling Haunt Sweet Home with Sarah Pinsker!" is brought to you in large part by my supporters, the Fabulists, who received an early, expanded version of this episode. You can join our Fabulist community with a pledge on Patreon or Substack! Some of the links above may be affiliate, allowing you to support the show at no extra cost to you. Also consider leaving a review for ISBW, please!   CREDITS Theme song by John Anealio, art by Numbers Ninja,and files hosted by Libsyn (affiliate link). Get archives of the show via Patreon. October 21, 2024 | Season 20 Ep 28 | murverse.com "Unveiling Haunt Sweet Home with Sarah Pinsker!!" by Mur Lafferty is licensed under CC BY-NC-SA 4.0

In this podcast, Thersa Matsuura talks about The Carp-Faced Boy, podcasting in Japan, carving out space for personal creativity, and much more. About Thersa Matsuura Thersa Matsuura is an author and podcaster who has been living in Japan for thirty plus years. She's a graduate of the Clarion West (2015) workshop, a recipient of the … Continue reading

In this conversation, Thersa Matsuura talks about The Book of Japanese Folklore, living in Japan, the Uncanny Japan Podcast, and much more.  About Thersa Matsuura Thersa Matsuura is an author and podcaster who has been living in Japan for thirty plus years. She's a graduate of the Clarion West (2015) workshop, a recipient of the … Continue reading

Alisa Alering discusses their debut novel, Smothermoss, growing up on a farm, writerly trickery, place, southern Pennsylvania, how unlimited access to the outdoors as a child influenced their writing, what time means to a mountain, the energy of the natural world, the real-life tragedy that features in the novel, setting the novel in the 1980s, starting the novel as a collage, and so much more! Alisa Alering grew up in the Appalachian Mountains of Pennsylvania and now lives in Arizona. After attending Clarion West, their short fiction has been published in Fireside, Lady Churchill's Rosebud Wristlet, Podcastle, and Cast of Wonders, among others, and been recognized by the Calvino Prize. A former librarian and science/technology reporter, they teach fiction workshops at the Highlights Foundation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join author and host Thersa Matsuura on a fascinating journey into the world of Japanese spirits, monsters, and yokai. This episode delves into how these supernatural beings are deeply embedded in Japanese culture, art, and storytelling. Discover the eerie yet captivating tales that have inspired countless sculptures, paintings, and modern media. Thersa will also explore intriguing similarities and differences between Japanese and Western supernatural traditions. Tune in for an enlightening discussion that bridges cultural divides and brings ancient myths to life. Perfect for enthusiasts of folklore, art, and the mysterious realms of the supernatural. My Special Guest Is Thersa Matsuura After a childhood living all over the U.S. — as far north as Fairbanks, Alaska and as far south as Jacksonville, Florida, Thersa Matsuura settled down in the far, far east. She's now an American expat who has lived over half her life in a fishing town in Japan. Her fluency in Japanese allows her to do research into parts of the culture – legends, folktales, and superstitions – that are little known to western audiences. A lot of what she digs up informs her short stories or becomes fodder for her podcast: Uncanny Japan. Thersa is a graduate of Clarion West (2015), a recipient of HWA's Mary Wollstonecraft Shelley Scholarship, and the author of two collections, A Robe of Feathers and Other Stories (Counterpoint LLC, 2009) and The Carp-Faced Boy and Other Tales (Independent Regions Publishing, 2017). The latter was a finalist for the Bram Stoker Award® (2017). She's had stories published in various magazines, anthologies and serialised in the Asahi English Newspaper. Her most recent book is The Book of Japanese Folklore: An Encyclopedia of the Spirits, Monsters, and Yokai of Japanese Myth (Spring, 2024; Adams Media). In this episode, you will be able to: 1. Explore concepts of Japanese Spirits, Monsters and Yokai. 2. Explore how embedded supernatural belief and spirits exist in Japanese culture, art, ritual and life. 3. Discover examples of Japanese spirits and how these can be similar and different to examples in the West. If you value this podcast and want to enjoy more episodes please come and find us on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Haunted_History_Chronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to support the podcast, gain a wealth of additional exclusive podcasts, writing and other content. Links to all Haunted History Chronicles Social Media Pages, Published Materials and more:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/hauntedhistorychronicles?fbclid=IwAR15rJF2m9nJ0HTXm27HZ3QQ2Llz46E0UpdWv-zePVn9Oj9Q8rdYaZsR74I⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ *NEW* Podcast Shop:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/haunted-history-chronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Buy Me A Coffee ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/hauntedhistorychronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Guest Links Website: https://thersamatsuura.com/ Podcast Link: https://uncannyjapan.com/ Twitter: https://twitter.com/uncannyjapan Instagram: https://www.instagram.com/uncannyjapan/ YouTube: https://www.youtube.com/@UncannyJapan Book Link: https://www.amazon.co.uk/stores/Thersa-Matsuura/author/B002CWZ73Y?ref=sr_ntt_srch_lnk_fkmr0_1&qid=1713979941&sr=8-1-fkmr0&isDramIntegrated=true&shoppingPortalEnabled=true --- Send in a voice message: https://podcasters.spotify.com/pod/show/hauntedchronicles/message

We've opened crowdfunding for Season 2 of Submitted for the Approval of the Midnight Pals at https://www.indiegogo.com/projects/the-midnight-pals-podcast-season-2/x/20621044#/ Based on our experiences of Season 1, we've set a flexible goal of $6,000 to cover paying our actors, cast and crew at bare-minimum indie rates; if we outdo that goal, we'll increase everyone's pay proportionately. Perks range from a credit in the show notes or on air, to a pretty PDF containing all the Season 1 scripts with commentary and annotations from the writers and cast, to commissioning an episode based on an author or work of your choice! We've got some bangers of scripts lined up for this season and we're excited to be making them. For full details, including the titles of the eight episodes we've got lined up (with two more if we reach our stretch goal of $12,000), see our indiegogo page. That link again is https://www.indiegogo.com/projects/the-midnight-pals-podcast-season-2/x/20621044#/ Share and enjoy! Trailer written, produced and performed Robin Johnson. The Midnight Pals is created by Bitter Karella.

This is a segment of episode 357 of Last Born In The Wilderness, “The Ambiguous Utopia: Fiction, History, & Hope In A Dying World w/ Margaret Killjoy.” Listen to the full episode: https://www.lastborninthewilderness.com/episodes/margaret-killjoy-2 Learn more about Margaret's work: https://linktr.ee/margaretkilljoy Fiction, as Margaret Killjoy points to in this interview, isn't good at providing blueprints, it's about finding the aspiration of what to look forward to; fiction is better at asking questions than providing answers. A good piece of creative storytelling can make the reader feel what it's like to live in the “ambiguous utopia” of LeGuin's The Dispossessed or Killjoy's A Country of Ghosts, and take us to a place that may be difficult for us to imagine existing otherwise, as much as we may long for it. Such a creative exercise can help us see what subtle and complex problems may arise in such a situation, hence the ambiguity of the “ambiguous utopia.” Margaret Killjoy is a transfeminine author born and raised in Maryland who was spent her adult life traveling with no fixed home. A 2015 graduate of Clarion West, Margaret's short fiction has been published by Tor.com, Strange Horizons, Vice's Terraform, and Fireside Fiction, amongst others. She is the author of We Won't Be Here Tomorrow, The Lamb Will Slaughter the Lion, and The Barrow Will Send What it May. She is also the host of the podcast Live Like the World is Dying and Cool People Who Did Cool Stuff on iHeartRadio. WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast SUBSTACK: https://lastborninthewilderness.substack.com BOOK LIST: https://bookshop.org/shop/lastbornpodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

When you've put your heart, soul, blood, sweat, and tears into building a world -- what happens when you then have to leave it behind? Most SFF authors will, at some point, close up their work in one world and start building a new one, but that comes with its own set of challenges! You know the old world so well; it's become comfy and familiar. The new world still has all its work yet to be done, and while it has the shiny lure of new discoveries, it also may seem daunting to start the process of figuring out how a world works all over again. In this episode, Fonda Lee and Melissa Caruso re-join us to discuss shifting focus from one world to another! Where do you start? How different do you need the world to be? We also chat about not just the mental challenges of clearing out one world to make room for the new one, but the emotional challenge of pulling yourself away from a place you love and know so well! Our Guests:  Melissa Caruso writes books of murder, magic, and mayhem. Her published fantasy novels include the Swords & Fire trilogy (THE TETHERED MAGE, THE DEFIANT HEIR, THE UNBOUND EMPIRE) and the Rooks & Ruin trilogy (THE OBSIDIAN TOWER, THE QUICKSILVER COURT, THE IVORY TOMB), all from Orbit Books. Her debut novel was shortlisted for the Gemmell Morningstar Award in 2017, and her books have received starred reviews and made countless Best Of lists. Melissa is a tea drinker, larper, and mom, and lives in Massachusetts with her video game designer husband, two superlative daughters, and assorted pets. Fonda Lee is the author of the epic fantasy Green Bone Saga, consisting of the novels Jade City, Jade War, and Jade Legacy, along with a prequel novella The Jade Setter of Janloon and a short story collection, Jade Shards. She is also the author of the science fiction novels Zeroboxer, Exo and Cross Fire. Her most recent work is the fantasy novella, Untethered Sky. Fonda is a winner of the World Fantasy Award, the Locus Award, and a five-time winner of the Aurora Award (Canada's national science fiction and fantasy award), as well as a multiple finalist for the Hugo Award, the Nebula Award, and the Oregon Book Award. Her novels have garnered multiple starred reviews and appeared on Best of Year lists from NPR, Barnes & Noble, Syfy Wire, and others. Jade City has been translated in a dozen languages, named to TIME Magazine's Top 100 Fantasy Books of All Time, and optioned for television development. She has also written acclaimed short fiction and been an instructor at writing workshops including Clarion West, Viable Paradise, and Aspen Words. Fonda is a former corporate strategist and black belt martial artist who loves action movies and Eggs Benedict. Born and raised in Canada, she currently resides in the Pacific Northwest.

Anarchist writer, musician, and podcaster Margaret Killjoy returns to the podcast to discuss the political act of writing fiction and imagining the “ambiguous utopia.” I ask Margaret to define what hope is or can be, and how her work communicating the stories of radical individuals and movements during pivotal moments throughout history on her podcast, Cool People Who Did Cool Stuff, can help us (re-)frame contemporary struggles for liberation, justice, and peace in the world today. Margaret Killjoy is a transfeminine author born and raised in Maryland who was spent her adult life traveling with no fixed home. A 2015 graduate of Clarion West, Margaret's short fiction has been published by Tor.com, Strange Horizons, Vice's Terraform, and Fireside Fiction, amongst others. She is the author of We Won't Be Here Tomorrow, The Lamb Will Slaughter the Lion, and The Barrow Will Send What it May. She is also the host of the podcast Live Like the World is Dying and Cool People Who Did Cool Stuff on iHeartRadio. Episode Notes: - Learn more about Margaret's work: https://linktr.ee/margaretkilljoy - Subscribe to their newsletter: https://margaretkilljoy.substack.com - Purchase We Won't Be Here Tomorrow and A Country of Ghosts from Bookshop: https://bit.ly/47BuC0v / https://bit.ly/3TUAxL4 - Listen and subscribe to Live Like the World is Dying and Cool People Who Did Cool Stuff: https://www.liveliketheworldisdying.com / https://tr.ee/bYJg6co7wh - Music produced by Epik The Dawn: https://epikbeats.net WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast SUBSTACK: https://lastborninthewilderness.substack.com BOOK LIST: https://bookshop.org/shop/lastbornpodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

Main fiction: "Other People's Things" by Jay O'ConnellJay O'Connell is a graduate of Syracuse University, Clarion West, Launchpad, and the school of somewhat hard knocks. He's worked as a software executive, UI/UX designer, business writer, illustrator, animator, graphic artist, construction worker, house-cleaner and burger flipper.As RAH put it, specialization is for insects.He lives in—and writes about—a world rapidly approaching the event horizon of the fabled SF singularity. He is fortunate to have a supportive spouse, two grown GLBTQ children, and so many wonderful friends along for the ride as we spiral into the beautiful and dangerous unknown.This story originally appeared in The Magazine of Fantasy and Science Fiction, Sept/Oct 2014.Narrated by: Mark NelsonMark Nelson began audiobook narration in 2006, and now has over 180 titles at LibriVox, and recording as “Harry Shaw,” more than 100 for Audible. While Mark mainly records sci-fi, fantasy, and horror titles, he has also ventured into the classics, including Hugo and Dostoyevsky.Support this show http://supporter.acast.com/starshipsofa. Hosted on Acast. See acast.com/privacy for more information.

Justin C. Key is a speculative fiction writer and psychiatrist whose short stories have appeared in The Magazine of Fantasy & Science Fiction, Strange Horizons, Tor.com, Escape Pod, and Lightspeed. A graduate of Clarion West, his debut short story collection, The World Wasn't Ready For You, is out 9.19.23 from HarperCollins. Glad to have Justin on the show today to discuss his writing, the creative process, and share a little love of the Stephen King variety.. You can follow his journey at justinckey.com or @JustinKey_MD on social media.

In this episode, I chat with Fonda Lee about what prompted her decision to become a serious writer, her innate love and respect for animals, her novella Untethered Sky, and her path from her first finished manuscript to finding an agent and publishing deal.Fonda Lee is the author of the epic fantasy Green Bone Saga, beginning with Jade City,continuing in Jade War, and concluding with Jade Legacy. She is also the author of the science fiction novels Zeroboxer, Exo, and Cross Fire, and two novellas, the Green Bone Saga prequel The Jade Setter of Janloon, and the upcoming Untethered Sky. Fonda is a winner of the World Fantasy Award, the Locus Award, and a four-time winner of the Aurora Award (Canada's national science fiction and fantasy award), as well as a multiple finalist for the Hugo Award, the Nebula Award, and the Oregon Book Award. Her novels have garnered multiple starred reviews and appeared on Best of Year lists from NPR, Barnes & Noble, Syfy Wire, and others. Jade City has been translated into a dozen languages, named to TIME Magazine's Top 100 Fantasy Books of All Time, and optioned for television development.  She has also written acclaimed short fiction and been an instructor at writing workshops including Viable Paradise and Clarion West. Fonda is a former corporate strategist and black belt martial artist who loves action movies and Eggs Benedict. Born and raised in Canada, she currently resides in the Pacific Northwest.Fonda LeeUntethered Sky, Fonda LeeIn The Lives Of Puppets, TJ KluneTOR.COMSupport the showThe Bookshop PodcastMandy Jackson-BeverlySocial Media Links

Mary Anne and Ben have been invited to teach in the first week of the famous writing workshop, Clarion West! Drawing from their past experience as students of the writing workshop, the hosts of MRAH take some time in this episode to brainstorm what their lessons are going to look like for the incoming students. Should the students be taught how to properly critique? What is a sustainable praxis and the Clarion ditto? All these questions and more are explored in this week's episode of MRAH. Episode show notes: www.speclit.org/ep-43-show-notes

In this episode, Steve and Tananarive talk about some of the reason for the WGA screenwriters' strike and the importance of community for writers -- and welcome guests Rashida Smith and Stephanie Malia Morris to talk about Clarion West. Find out more information at www.clarionwest.org.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I chat with Fonda Lee about what prompted her decision to become a serious writer, her innate love and respect for animals, her novella Untethered Sky, and her path from her first finished manuscript to finding an agent and publishing deal.Fonda Lee is the author of the epic fantasy Green Bone Saga, beginning with Jade City, continuing in Jade War, and concluding with Jade Legacy. She is also the author of the science fiction novels Zeroboxer, Exo, and Cross Fire, and two novellas, the Green Bone Saga prequel The Jade Setter of Janloon, and the upcoming Untethered Sky. Fonda is a winner of the World Fantasy Award, the Locus Award, and a four-time winner of the Aurora Award (Canada's national science fiction and fantasy award), as well as a multiple finalist for the Hugo Award, the Nebula Award, and the Oregon Book Award. Her novels have garnered multiple starred reviews and appeared on Best of Year lists from NPR, Barnes & Noble, Syfy Wire, and others. Jade City has been translated into a dozen languages, named to TIME Magazine's Top 100 Fantasy Books of All Time, and optioned for television development.  She has also written acclaimed short fiction and been an instructor at writing workshops including Viable Paradise and Clarion West. Fonda is a former corporate strategist and black belt martial artist who loves action movies and Eggs Benedict. Born and raised in Canada, she currently resides in the Pacific Northwest.Fonda LeeUntethered Sky, Fonda LeeIn The Lives Of Puppets, TJ KluneTOR.COM Support the showThe Bookshop PodcastMandy Jackson-BeverlySocial Media Links

 Fonda Lee is the author of the epic fantasy Green Bone Saga, beginning with Jade City, continuing in Jade War, and concluding in Jade Legacy. She is also the author of the science fiction novels Zeroboxer, Exo and Cross Fire, and two novellas, the Green Bone Saga prequel The Jade Setter of Janloon, and the upcoming Untethered Sky.  She has also written acclaimed short fiction and been an instructor at writing workshops including Viable Paradise and Clarion West. Visit Fonda's website fondalee.comFollow Fonda on Twitter here. You can also find more Tales From The Bridge on Apple Podcasts or our website, and you can also find us on Twitter, Instagram, and Facebook to see what is happening on The Bridge.Check out our many links:Apple Podcasts: https://podcasts.apple.com/us/podcast/tales-from-the-bridge-all-things-sci-fi/id1570902818Spotify: https://open.spotify.com/show/3MQuEYGQ3HD2xTewRag8KGTwitter: @BridgeTalesInstagram: @talesfromthebridgeFacebook: http://www.facebook.com/groups/talesfromthebridge/Good Reads: https://www.goodreads.com/review/list/141864356-talesfrom-thebridge?shelf=readIMDB: https://www.imdb.com/title/tt17354590/?ref_=fn_al_tt_1Website: https://talesfromthebridge.buzzsprout.com/Email: talesfromthebridgepodcast@gmail.com    

Ask Win: http://ask-win.weebly.com. Ask Win sponsor: https://melodyclouds.com. Please donate to Ask Win by going to Payment Venmo Win1195 at https://venmo.com/. Win Kelly Charles' Books: https://www.amazon.com/Win-Kelly-Charles/e/B009VNJEKE/ref=dp_byline_cont_book_1. Win Kelly Charles' MONAT: https://wincharles.mymonat.com.   On Ask Win today (Thursday, January 12, 2023), Best-Selling Author, Win C welcomes Elsa Sjunneson, author of Being Seen: One Deafblind Woman's Fight to End Ableism. Elsa is a Deafblind disability rights activist whose work has been praised as “eloquence and activism in lockstep.” A story on disability icon Helen Keller that she researched and reported for over a year aired on Radiolab in March of 2022, and her work has been published in CNN Opinion and the Boston Globe. Elsa has presented at Microsoft, Google, Slack, the Federal Reserve Board, General Assembly Seattle, the Henry Art Gallery, and the University of Chicago, among others, and collaborated with New Jersey 11th for Change and the New York Disability Pride Parade. She holds a master's degree in women's history from Sarah Lawrence College and served as an adjunct professor in the Department of Humanities at the New Jersey Institute of Technology. A speculative fiction writer who has taught workshops with Clarion West as well as Writing the Other, she's a two-time Hugo Award winner and nine-time finalist. She lives in Seattle, Washington. To learn more about Elsa email her at elsa.s.henry@gmail.com.

Valerie Valdes's work has been featured in Uncanny Magazine, Time Travel Short Stories and Nightmare Magazine. Her debut novel Chilling Effect was published by Harper Voyager in September 2019 and Orbit UK in February 2020, with starred reviews in Kirkus Reviews and Library Journal. It was shortlisted for the 2021 Arthur C. Clarke Award, and was also named one of Library Journal's best SF/fantasy novels of 2019. The trilogy is now complete with Prime Deceptions and Fault Tolerance. Her next novel, Where Peace Is Lost, is forthcoming in 2023. Valerie is co-editor of Escape Pod, and currently works as a freelance writer and copy editor. She is a graduate of the University of Miami and the Viable Paradise workshop and has taught classes and given lectures for Clarion West and Georgia State University. She has also served as a Municipal Liaison for National Novel Writing Month since 2005. She lives in Georgia with her husband, children and cats. You can find her online at the links below. Website Twitter Instagram

originally aired 11.08.2022 Jack Marshallhttps://proethics.com/https://ethicsalarms.com/Being Seen: One Deafblind Woman's Fight to End AbleismElsa Sjunnesonhttps://www.snarkbat.com/Hugh WoodwardTwist25.comPROMO code: frankieJack Marshall is a speaker, teacher, writer, and innovator in ethics training and consulting in law, accounting, business; national, state, local and foreign governments; non-profits and associations. Jack is President of ProEthics, an ethics and compliance firm dedicated to helping organizations and professions build ethical cultures. He is also the co-editor, with Pulitzer Prize-winning historian Ed Larson, of "The Essential Words and Writings of Clarence Darrow," published by Modern Library. https://www.ethics​scoreboard.com/Elsa Sjunneson is a Deafblind disability rights activist whose work has been praised as “eloquence and activism in lockstep.” Her work has been published in CNN Opinion and the Boston Globe. A speculative fiction writer who has taught workshops with Clarion West as well as Writing the Other, she's a two-time Hugo Award winner and nine-time finalist. Her book, Being Seen: One Deafblind Woman's Fight to End Ableism explores how the misrepresentation of disability in books, movies, and TV harms both the disabled community and everyone else. https://www.snarkbat.com/Hugh Woodward is President of Health2Go. He is a subject matter expert on DHEA. In 2007, Mr. Woodward started Health2Go, Inc. to research and develop leading edge science based anti-aging and wellness products and bring them to customers conveniently and cost effectively. His father, Dr. John Woodward, a highly respected Medical Doctor, invented Twist 25 DHEA cream. https://twist25.com/

Jack Marshallhttps://proethics.com/https://ethicsalarms.com/Being Seen: One Deafblind Woman's Fight to End AbleismElsa Sjunnesonhttps://www.snarkbat.com/Hugh WoodwardTwist25.comPROMO code: frankieJack Marshall is a speaker, teacher, writer, and innovator in ethics training and consulting in law, accounting, business; national, state, local and foreign governments; non-profits and associations. Jack is President of ProEthics, an ethics and compliance firm dedicated to helping organizations and professions build ethical cultures. He is also the co-editor, with Pulitzer Prize-winning historian Ed Larson, of "The Essential Words and Writings of Clarence Darrow," published by Modern Library. https://www.ethics​scoreboard.com/Elsa Sjunneson is a Deafblind disability rights activist whose work has been praised as “eloquence and activism in lockstep.” Her work has been published in CNN Opinion and the Boston Globe. A speculative fiction writer who has taught workshops with Clarion West as well as Writing the Other, she's a two-time Hugo Award winner and nine-time finalist. Her book, Being Seen: One Deafblind Woman's Fight to End Ableism explores how the misrepresentation of disability in books, movies, and TV harms both the disabled community and everyone else. https://www.snarkbat.com/Hugh Woodward is President of Health2Go. He is a subject matter expert on DHEA. In 2007, Mr. Woodward started Health2Go, Inc. to research and develop leading edge science based anti-aging and wellness products and bring them to customers conveniently and cost effectively. His father, Dr. John Woodward, a highly respected Medical Doctor, invented Twist 25 DHEA cream. https://twist25.com/

This week, Nick, Wil, and Brent sit down with LP Kindred to talk about his time at Clarion West.  Links mentioned during the show: LP Kindred Clarion West Support the Show: Patreon Kofi Indie Bound Contact us! JustKeepWriting.org Discord Facebook Twitter Instagram YouTube Marshall: Website: www.marshallcarr.com Email: marshall@marshallcarr.com  Twitter: @darthpops  Nick:  Website: www.brightinks.org Email: nicholasbright@brightinks.org  Twitter: @BrightInks Wil:  Email: wil@justkeepwriting.org  Twitter: @wil_ralston Instagram: @wilsartrules Brent:  Twitter: @BrentCLambert @fiyahlitmag Fiyah Lit Magazine Now, just keep writing!

Have you ever seen those dogs on Instagram that communicate by pushing buttons that play recordings of words? In April 2021, Terrie tamed a wild tanuki, brought it home and taught it to communicate. Then the shit hit the fan. Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Our other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Ko-fi: https://ko-fi.com/B0B7AO84P Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb Credits Researched, written, directed, & produced: Thersa Matsuura Mixed, edited, & sound engineered: Rich Pav Voice of Terrie and Richard: Terrie and Richard Voice of tanuki buttons: Julyan Ray Sniffles, snorts, and chomps of tanuki: Alan Smithee Foley: Richard and Terrie That one line about Caligula: Joe Robson Intro and outro music by Julyan Ray Matsuura. Atmospheres #9 – Outskirts Of Town by Brian Holtz Music Link: https://filmmusic.io/song/7668-atmospheres-9-outskirts-of-town License: https://filmmusic.io/standard-license Mourning Background by MusicLFiles Link: https://filmmusic.io/song/7660-mourning-background License: https://filmmusic.io/standard-license Freedom by Alexander Nakarada Link: https://filmmusic.io/song/4881-freedom License: https://filmmusic.io/standard-license Divertimento K131 by Kevin MacLeod Link: https://filmmusic.io/song/3663-divertimento-k131 License: https://filmmusic.io/standard-license Peek-A-Boo by Brian Holtz Music Link: https://filmmusic.io/song/7123-peek-a-boo License: https://filmmusic.io/standard-license The Expanse by Alexander Nakarada Link: https://filmmusic.io/song/4846-the-expanse License: https://filmmusic.io/standard-license Dawn Of The Apocalypse by Rafael Krux Link: https://filmmusic.io/song/5627-dawn-of-the-apocalypse- License: https://filmmusic.io/standard-license 5 Am by Denis Sivtsev Link: https://filmmusic.io/song/5959-5-am License: https://filmmusic.io/standard-license

Paulina & Jez had a blast chatting with Caren Gussoff Sumption about her writing career and her latest sci-fi novella, So Quick Bright Things Come to Confusion. Caren Gussoff Sumption is a writer and editor of Romany ancestry, living near Seattle, WA. The author of 5 books and more than 100 short stories, Caren's been awarded a Hedgebrook Elizabeth George Award, the Speculative Literature Foundation's Gulliver Grant, a stint as the Seattle Post-Intelligencer's Geek of the Week, and honors from the European Commission on Science and Society.She received her MFA from the School of the Art Institute of Chicago, and in 2008, was the Carl Brandon Society's Octavia E. Butler Scholar at Clarion West. She also holds a seat on the Renton Municipal Arts Commission, and volunteers time to We Need Diverse Books, and other organizations promoting diversity and inclusion in literature.By day, she chips away at injustice, as a social services specialist serving as a state and nationally certified peer counselor, victim advocate, and community health worker.Caren is on the Autism spectrum, lives with chronic autoimmune disorders, and can't carry a tune (she tries anyway). Find her online at www.spitkitten.com and https://linktr.ee/spitkitten. This episode's Romani crushes are performer & writer  Mihaela Drâgan of Giuvlipen & designer & performer Zita Moldovan of Loly & Giuvlipen. Thank you for listening to Romanistan podcast.You can find us on Instagram @romanistanpodcast, and on Facebook under the same name, and on Twitter @romanistanpodWe started a Ko-fi fundraiser to help us expand. Our goal is to continue releasing 2 episodes a month, including our advice column, and we would eventually like to expand so we can produce content by other Romani & Sinti creators. We are hoping to cover production costs, like paying for our hosting site, website, editing and producing, and all the rest. We would love it if you could contribute and spread the word. The link, Ko-fi.com/romanistan, is in our bio on Instagram, and will be in the show notesPlease rate, review, and subscribe. It helps us so much. If you would like to advertise with us, email us at romanistanpodcast@gmail.com. We offer sliding-scale for Romani, Sinti & related businesses, so reach out!You can find Jess on Instagram @jezmina.vonthiele, and you can find Jess' vintage and curiosities shop Evil Eye Edit on Instagram @evileyeedit & Etsy.You can find Paulina Verminski on Instagram @_paulina_v_ and at https://romaniholistic.com/. Follow Paulina's store, Romani Holistic, in Corona Del Mar, CA, on Instagram @romaniholistic Romanistan is hosted by Jessica Reidy and Paulina VerminskiConceived of by Paulina VerminskiEdited by CherubWith Music by Viktor PachasAnd Artwork by Elijah Vardo

The saddest clown in the world and his best friend, a rat named Singer Boy, take a trip to the moon. Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Ko-fi: https://ko-fi.com/B0B7AO84P Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

Our commentary about three episodes: Asteroid Annie and the Mushiblooms Asteroid Arnie and the Mushiblooms A Spotify/Parcast True Crime Parody: Peppers and the Screaming Yoof Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Ko-fi: https://ko-fi.com/B0B7AO84P Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

A comedy/sci-fi auditory extravaganza four months in the making. Asteroid Annie, the all-time greatest intergalactic superheroine and her trusty sidekick What's-His-Name, face off against the evil Mushiblooms and their villainous leader Hutt Poppa. Will they be able to save this alternate universe? In Episode 5 we brought you the story of how Asteroid Arnie, the greatest intergalactic superhero of all time and his trusty sidekick Moomaroof, saved the entire race of adorable, fuzzy little Mushiblooms from certain death at the hands of the Stinky Lollies. Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Ko-fi: https://ko-fi.com/B0B7AO84P Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

What happens when you have to build not just one world, but a whole passel of them? In this episode, guest Valerie Valdes joins us to talk about how an author can craft compelling adventures in spaaaaaaaaaaace. The vastness and potential diversity of space makes for an appealing sandbox for writers to play in. In a genre that often depends on the element of handwavium to make its interplanetary travel, interstellar stations, and laser swords possible, how can you still build cultures and societies that feel lived-in? Do you want to lean into the idea of single-biome "trope planets" or challenge it? How internally consistent do you need to be in order to keep a reader's suspension of disbelief intact? Transcript for Episode 82 (Our scribal team can always use assistance! If you'd like to join, email us at worldbuildcast at gmail dot com) Our Guest: Valerie Valdes's work has been featured in Uncanny Magazine, Time Travel Short Stories and Nightmare Magazine. Her debut novel Chilling Effect was published by Harper Voyager in September 2019 and Orbit UK in February 2020, with starred reviews in Kirkus Reviews and Library Journal. It was shortlisted for the 2021 Arthur C. Clarke Award, and was also named one of Library Journal's best SF/fantasy novels of 2019. The sequel, Prime Deceptions, was published in September 2020, and the third book in the trilogy, Fault Tolerance, is forthcoming in August 2022. Valerie is co-editor of Escape Pod, and currently works as a freelance writer and copy editor. She is a graduate of the University of Miami and the Viable Paradise workshop and has taught classes and given lectures for Clarion West and Georgia State University. She has also served as a Municipal Liaison for National Novel Writing Month since 2005. She lives in Georgia with her husband, children and cats.

A long, involved saga of internet and cellular data woes, including multiple interactions with service providers, three trips to the store, two lightning storms, and one coincidence so incredible that I blame Thor.Buy ROGUE'S PAWN here! (https://jeffekennedy.com/rogue-s-pawn)Buy THE STORM PRINCESS AND THE RAVEN KING here!! (https://jeffekennedy.com/the-storm-princess-and-the-raven-king). The Heirs of Magic series is here (https://jeffekennedy.com/series/heirs-of-magic).The audiobook of GREY MAGIC is here (https://www.audible.com/pd/Grey-Magic-Audiobook/B09Z77GHDL?source_code=AUDFPWS0223189MWT-BK-ACX0-307001&ref=acx_bty_BK_ACX0_307001_rh_us), BRIGHT FAMILIAR is here (https://www.audible.com/pd/Bright-Familiar-Audiobook/B09WSGFLXW?source_code=AUDFPWS0223189MWT-BK-ACX0-303113&ref=acx_bty_BK_ACX0_303113_rh_us) and DARK WIZARD is here (https://www.audible.com/pd/Dark-Wizard-Audiobook/B09QQRHTYZ?source_code=AUDFPWS0223189MWT-BK-ACX0-294201&ref=acx_bty_BK_ACX0_294201_rh_us).The Sorcerous Moons series - now in KU! - is available here (https://www.amazon.com/dp/B09YVVB82N).If you want to support me and the podcast, click on the little heart or follow this link (https://www.paypal.com/paypalme/jeffekennedy).You can watch this podcast on YouTube here https://youtu.be/GpnymEU5Pt0Sign up for my newsletter here! (https://landing.mailerlite.com/webforms/landing/r2y4b9)Support the show

Join host Adrian M. Gibson and author Alex Jennings for a chat about his new novel The Ballad of Perilous Graves, his long journey towards publication, participating in Clarion West, meeting his literary idols, New Orleans and jazz culture, the magic of music and much more. NOTE: Apologies for the background noise on Alex's audio. EMAIL US WITH YOUR QUESTIONS & COMMENTS: sffaddictspod@gmail.com ABOUT THE AUTHOR: Alex Jennings is a writer, editor, teacher and poet living in New Orleans, a devourer of pop culture and a lover music, film and comics. His debut novel, The Ballad of Perilous Graves, is out now through Redhook. Find Alex on Twitter, Amazon and his personal website, and you can check out his Spotify playlist for The Ballad of Perilous Graves here. FIND US ONLINE: FanFiAddict Blog Discord Twitter Instagram MUSIC: Intro: "FanFiAddict Theme (Short Version)" by Astronoz Interlude 1 & 2: “Crescendo” by Astronoz Outro: “Cloudy Sunset” by Astronoz SFF Addicts is part of FanFiAddict, so check us out at https://fanfiaddict.com for the latest in book reviews, essays and all things sci-fi and fantasy, as well as the full episode archive for the podcast and the blog post accompanying this episode. Follow us on Instagram or Twitter @SFFAddictsPod, and please subscribe, rate and review us on your platform of choice, or share us with your friends. It helps a lot, and we greatly appreciate it. --- Send in a voice message: https://anchor.fm/sff-addicts/message

We spent all last month filling in the world's longest and most detailed application for a multi-week accelerator training program designed to "help mid-career podcasters 'level up' with a renewed focus on business development, audience growth, optionality, video strategies, and long-term sustainability." Hey, that's exactly what we need! They said they're looking for "applicants that have already been producing media and podcasts for at least 3 years. Specifically, creators looking to take a current podcast past creative development and into business strategy." That's us! Applicants "must be able to demonstrate success and enthusiasm with current or past podcast(s) either through audience retention and growth, conceptual rigor, diversification of podcast offerings, revenue and/ or partnerships" That's us too! Also, applicants "must be willing to pause production during the program," "represent a range of geographies, backgrounds, views, voices, and styles," have "baseline technical and editorial skills," and be "interested in making their podcast sustainable through teamwork, openness to iteration and change, and pursuing revenue and audience growth." That's four more yeses! We figured we'd be a shoe-in for the program. ...we weren't. The rejection email arrived yesterday. But we did spend weeks creating a bitchin' Hollywood blockbuster cinematic audio trailer for our Asteroid Arnie episode and a mock interview episode to answer their questions: 1. Explain to us what this podcast, brand, and/or creative project would look like in its most fully realized form. 2. What are the key accomplishments and milestones you are striving to reach? 3. If you had unlimited resources and support, where would you take it? The way we figure, they're both pretty darn good pieces of audio we spent a long time making, so why let them go to waste? Enjoy! [Promo] A Happy Bureaucracy: Dark humor abounds as a tax agent tries to tame a post-apocalyptic hellscape. https://pod.link/1606645977 Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Ko-fi: https://ko-fi.com/B0B7AO84P Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

AI-written audio drama was a dumb idea, and we have the pathetic download statistics to prove it. What people really want to hear are cookie-cutter true crime podcasts, so that's what we're doing from now on. Our first true crime episode is: "Pepper and the Screaming Yoof, #5." We just copied off of Wikipedia and changed a few words. I mean, why even bother to be original? Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Ko-fi: https://ko-fi.com/B0B7AO84P Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

The Stinky Lollies are out to exterminate the Mushiblooms. Can Asteroid Arnie and Princess Moom-a-Roof save them from certain death? Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Ko-fi: https://ko-fi.com/B0B7AO84P Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

DescriptionPodcast Rodeo Show: Reviews and First Impressions of Your Podcast Listen to a fine collection of surreal and hilarious AI-generated short stories read by Bram Stoker Award Finalist and Clarion West 2015 Graduate Thersa Matsuura and sound designer Rich Pav. Check it out https://uncannyrobotpodcast.com/ (https://uncannyrobotpodcast.com/) What I Liked About This EpisodeThe introduction let me know what was coming. The audio quality was good (especially for only being their 2nd podcast). I loved that they were going to provide some "behind the scenes" and they are going to do it toward the end of the show (which keeps the stories at the front) I love that this is original. It's not a movie review, true crime, bro-cast, etc. It ticks one of the signs of a good podcast which is, "Information you can't get anyplace else." What I Thought Could Use Some PolishingThe introduction of the first episode was a lil' clunky. It sounded like you were winging it. You're talking about last week's show, but you couldn't remember what it was.... I would've stopped, regrouped, and taken another stab at it. As this was the second episode, this is somewhat normal, and probably a little bit of nerves. You did a great job of introducing the second story. So the intro (after the voice-over person) could be as simple as: Rich: "Hey, Thersa." Thersa, "Hey Rich, What do you have today?" Rich: "I've got an AI story about Elvis being alive. How about you? Thersa: "I've got a story about Jim Morrison" Where should we start? Then you pick a story and go (and make sure not to spoil the story). The Elvis story pulled me in, but it started to lose me when it went into stalker mode. The Goal Of This ShowThis podcast rodeo show aims to help you make the best episodes and grow your downloads. If you'd like a deeper dive here are some additional services: The Next 20 people who order a level 1 review get to NAME THEIR OWN PRICE. https://podcast-rodeo-podcast.captivate.fm/reviews (Get Your Full Podcast Reviewed) https://www.profitfromyourpodcast.com/book (Profit From Your Podcast Book) Launch and Grow Your Podcast at the https://www.schoolofpodcasting.com/start (School of Podcasting) Subscribe and Follow the Show https://podcast-rodeo-podcast.captivate.fm/listen (Listen to Podcast Rodeo Show: Reviews and First Impressions of Your Podcast) Mentioned in this episode: NAME YOUR OWN PRICE! The next 20 people who sign up for a level 1 review will get to name their own price. https://podcast-rodeo-podcast.captivate.fm/reviews (Get Reviewed)

Terrie and Rich discuss the Valentine's Day episode. Please listen to Episode 3 before listening to this one! Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Buy Me a Coffee (one-time contribution): https://buymeacoffee.com/uncannyjapan (Yes, it's for Uncanny Japan; it all ends up in the same place.) Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

Trigger warning: Lots of explosions. Other trigger warnings for this episode are on the website, but these days, this is a big one. Sorry, subscribers. Mistakes were made. Long story. Here's the same episode you may have already downloaded. And we're informed that the people responsible have been sacked. On the bright side, if you listen to it again, it has a few fixes. In particular, the very last line of the story is more intelligible. A heartwarming, futuristic dystopian tale of love, redemption, robot cameras and lots of explosions. Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Buy Me a Coffee (one-time contribution): https://buymeacoffee.com/uncannyjapan (Yes, it's for Uncanny Japan; it all ends up in the same place.) Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

Elvis and Jim Morrison have been alive all this time. Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Buy Me a Coffee (one-time contribution): https://buymeacoffee.com/uncannyjapan (Yes, it's for Uncanny Japan; it all ends up in the same place.) Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb Music Credits Happy Whistling Ukulele by Rafael Krux Link: https://filmmusic.io/song/5453-happy-whistling-ukulele- License: https://filmmusic.io/standard-license Little Trolls by Frank Schröter Link: https://filmmusic.io/song/8104-little-trolls License: https://filmmusic.io/standard-license Play along as we teach you how to generate your own AI story: https://6b.eleuther.ai/ The prompt: Once upon a time there were three bears: a momma bear, a papa bear and a baby bear. They lived in a little cottage in a big forest. One day, papa bear was standing in front of the bathroom mirror and noticed that he had the first ever grey strand of fur on the top of his head.

Memories Of Death: A dead man talks about what it's like to be dead. You Remind Me of Someone: A vampire contemplates his crimes in a church graveyard. Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Buy Me a Coffee (one-time contribution): https://buymeacoffee.com/uncannyjapan (Yes, it's for Uncanny Japan; it all ends up in the same place.) Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

Listen to a fine collection of surreal and hilarious AI-generated short stories. Uncanny Robot is Bram Stoker Finalist and Clarion West 2015 graduate Thersa Matsuura and audio editor/sound designer Rich Pav. Their other shows are Uncanny Japan and The Soothing Stories Podcast. Check out Terrie's books including The Carp-Faced Boy on Amazon. Our website has trigger warnings and transcripts for every episode. If you'd like to help support the show, please visit Patreon. Buy Me a Coffee (one-time contribution): https://buymeacoffee.com/uncannyjapan (Yes, it's for Uncanny Japan; it all ends up in the same place.) Join our subreddit: https://www.reddit.com/user/uncannyrobotpodcast Website: https://www.uncannyrobotpodcast.com/ Twitter: https://twitter.com/UncannyRobot Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyrobotpodcast/ YouTube: https://www.youtube.com/channel/UCgdzFk8yoR1pQp2HpHArrgA Discord: https://discord.gg/XdMZTzmyUb

Travis interviews author Fonda Lee about Jade Legacy, the third and final book in the award-winning Green Bone Saga trilogy from Orbit Books. The epic family saga of the Kaul siblings takes an intergenerational turn in this stunning conclusion to the series. This episode is spoiler free! Fonda and Travis discuss the nitty gritty of her worldbuilding process, how to craft an impactful action scene, and how in invest readers in morally grey characters. Want your message featured on the podcast? Find out more here. About Fonda Lee: Fonda Lee is the author of the epic urban fantasy Green Bone Saga (beginning with Jade City and continuing in Jade War and the forthcoming Jade Legacy) _and the science fiction novels _Zeroboxer, Exo and Cross Fire. Fonda is a winner of the World Fantasy Award, as well as a three-time winner of the Aurora Award (Canada's national science fiction and fantasy award), and a multiple finalist for the Nebula Award, the Locus Award, and the Oregon Book Award. Her novels have garnered multiple starred reviews, been included on numerous state reading lists, named Junior Library Guild selections, and appeared on Best of Year lists from NPR, Barnes & Noble, Syfy Wire, and others. Jade City has been translated in multiple languages and optioned for television development. In addition, she has written acclaimed short fiction and comic books for Marvel. She is a frequent speaker and instructor at writing workshops including Viable Paradise and Clarion West. Fonda is a former corporate strategist and black belt martial artist who loves action movies and Eggs Benedict. Born and raised in Canada, she currently resides in Portland, Oregon. Find Fonda Lee on Twitter, Patreon, or her website fondalee.com. Find Us Online: Blog Discord Twitter Instagram Support Us: Become a Patron Buy Us a Coffee Music: Intro: "The Legend of Iya" courtesy of https://philter.no Outro: "A Quest Unfolds" courtesy of https://philter.no This episode of The Fantasy Inn podcast was recorded in the unceded territory of the S'atsoyaha (Yuchi) and ᏣᎳᎫᏪᏘᏱ Tsalaguwetiyi (Eastern Cherokee Band) peoples. Some of the links included in these show notes are affiliate links and support the podcast at no additional cost to you. If it's an option for you, we encourage you to support your local bookstores! The blog post accompanying this episode can be found at https://thefantasyinn.com, along with fantasy book reviews, author interviews, and more fantasy content.

Y'know, the thing about the world is... It isn't static! It changes, all the time, and if you want your invented world to feel real and full of life, a great way to do that is to make sure it also changes. But how do you build societal change into your fictional world? Guest Fonda Lee joins us to discuss cultural diaspora, temporal shifts, geopolitical cross-pollination, and other exciting ways to show the natural shifts and turns of society. We also discuss how sci-fi seems to incorporate the idea of diaspora and change more readily than fantasy has often done, and we examine how magic might affect ideas of cultural shifts across space and time. Transcript for Episode 64 (Thank you, scribes!) Our Guest: Fonda Lee is the author of the epic urban fantasy Green Bone Saga (beginning with Jade City and continuing in Jade War and the forthcoming Jade Legacy) and the science fiction novels Zeroboxer, Exo and Cross Fire. Fonda is a winner of the World Fantasy Award, as well as a three-time winner of the Aurora Award (Canada's national science fiction and fantasy award), and a multiple finalist for the Nebula Award, the Locus Award, and the Oregon Book Award. Her novels have garnered multiple starred reviews, been included on numerous state reading lists, named Junior Library Guild selections, and appeared on Best of Year lists from NPR, Barnes & Noble, Syfy Wire, and others. Jade City has been translated in multiple languages and optioned for television development. In addition, she has written acclaimed short fiction and comic books for Marvel. She is a frequent speaker and instructor at writing workshops including Viable Paradise and Clarion West. Fonda is a former corporate strategist and black belt martial artist who loves action movies and  Eggs Benedict. Born and raised in Canada, she currently resides in Portland, Oregon.

Today we're chatting with Zin E Rocklyn, author of Flowers for the Sea which just came out in paperback from Tordorcom.Zin E. Rocklyn is a contributor to Bram Stoker-nominated and This is Horror Award-winning Nox Pareidolia, Kaiju Rising II: Reign of Monsters, Brigands: A Blackguards Anthology, and Forever Vacancy anthologies and Weird Luck Tales No. 7 zine. Their story "Summer Skin" in the Bram Stoker-nominated anthology Sycorax's Daughters received an honorable mention for Ellen Datlow's Best Horror of the Year, Volume Ten. Zin contributed the nonfiction essay “My Genre Makes a Monster of Me” to Uncanny Magazine's Hugo Award-winning Disabled People Destroy Science Fiction. Their short story "The Night Sun" and flash fiction "teatime" were published on Tor.com. Flowers for the Sea is their debut novella. Zin is a 2017 VONA and 2018 Viable Paradise graduate as well as a 2022 Clarion West candidate. You can find them on Twitter @intelligentwat.In FLOWERS FOR THE SEA, survivors from a flooded kingdom struggle alone on an ark. Resources are scant, and ravenous beasts circle…and their fangs are sharp. Rocklyn centers the story on Iraxi, a refugee that is ostracized, despised, and a commoner who refused a prince. Iraxi is also pregnant with a child that might be more than human, and her fate may be darker and more powerful than she can imagine.

Today we're chatting with Zin E Rocklyn, author of Flowers for the Sea which just came out in paperback from Tordorcom.Zin E. Rocklyn is a contributor to Bram Stoker-nominated and This is Horror Award-winning Nox Pareidolia, Kaiju Rising II: Reign of Monsters, Brigands: A Blackguards Anthology, and Forever Vacancy anthologies and Weird Luck Tales No. 7 zine. Their story "Summer Skin" in the Bram Stoker-nominated anthology Sycorax's Daughters received an honorable mention for Ellen Datlow's Best Horror of the Year, Volume Ten. Zin contributed the nonfiction essay “My Genre Makes a Monster of Me” to Uncanny Magazine's Hugo Award-winning Disabled People Destroy Science Fiction. Their short story "The Night Sun" and flash fiction "teatime" were published on Tor.com. Flowers for the Sea is their debut novella. Zin is a 2017 VONA and 2018 Viable Paradise graduate as well as a 2022 Clarion West candidate. You can find them on Twitter @intelligentwat.In FLOWERS FOR THE SEA, survivors from a flooded kingdom struggle alone on an ark. Resources are scant, and ravenous beasts circle…and their fangs are sharp. Rocklyn centers the story on Iraxi, a refugee that is ostracized, despised, and a commoner who refused a prince. Iraxi is also pregnant with a child that might be more than human, and her fate may be darker and more powerful than she can imagine.

"Security Breach at Sugar Pine Suites" — published in Apex Magazine, Indigenous Futurists special issue, October 2021. Read it here: https://apex-magazine.com/security-breach-at-sugar-pine-suites Pamela Rentz is a citizen of the Karuk Tribe and works as a paralegal specializing in tribal affairs. She is a graduate of the Clarion West Writers Workshop and has been published in Asimov's, Apex, and has a story forthcoming in Fantasy Magazine. Her personal website is www.pamrentz.com. This story was narrated by Marguerite Croft.  Reared in Idaho's Magic Valley, Marguerite Croft (Ojibwe) is a writer, mom, graduate of Clarion West, and part of the team behind the Point Mystic audio drama. She's narrated stories for PodCastle, Escape Pod, and Pseudopod, and recently voiced the character of Octavie Thomas for Kalila Stormfire's Economical Magick Services. She currently lives just south of San Francisco with her family. This Apex Magazine podcast was produced by KT Bryski. Theme music by Alex White. Other music in this podcast includes "Over Under" and "Numinous Shine," both by Kevin MacLeod and licensed under a Creative Commons Attribution license. Some sounds in this podcast are provided by the Free Sound Project. Find out more at www.freesound.org. Apex Magazine podcast, copyright Apex Publications. Apex Magazine is a bimonthly short fiction zine focused on dark science fiction, fantasy, and horror. Find us at http://www.apex-magazine.com.

We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, and concerns for us to address in future episodes. We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast Mentioned in this episode: Glitter + Ashes edited by dave ring Silk & Steel edited by Janine A. Southard  Grace's Links: Website ArtStation portfolio Twitter Episode Transcript (by TK @_torkz) [Upbeat Ukulele Intro Music] Rekka: This is We Make Books, a podcast about writing publishing and everything in between. Rekka is a published Science Fiction and Fantasy author, and Kaelyn is a professional genre fiction editor. Together, they'll tackle the things you never knew you never knew about getting a book from concept to finished product, with explanations, examples, and a lot of laughter. Get your moleskin notebook ready. It's time for We Make Books. R: Today we are talking to Grace Fong about book art. Now we've had someone on in the past to talk about cover art and art-directing a commissioned cover. However, I think Colin would forgive me for saying that you do not want Colin to do the artwork. Kaelyn: He would, yes. R: Yes. [laughing] Would you like to introduce yourself? Grace: Hi, I'm Grace! My pronouns are she/her, I work on the narrative design team over at Wizards of the Coast for Magic: The Gathering. I am also a sometimes-writer, and for the past five years I've been doing illustration work for various speculative fiction magazines, such as Strange Horizons, and some anthologies like Silk & Steel and Glitter + Ashes. K: Rekka this is our first like, real artist. R: It is difficult to get an artist on a podcast. I have tried - K [overlapping]: [laughing] R: - for this podcast and the previous one and it is a tricky business. So Grace, you live up to your name in showing up. G [laughing]: We don't like talking to people, we just like sitting at our computers. R: I completely understand, but doesn't mean I'm gonna give up trying, so. We've finally done it. K: Awesome. So I have been involved in some cover art not as the primary person but as the editor, where I have to look at it and go ‘yeah okay that kinda tracks with what's happening here.' We have talked a lot on this podcast before about what to expect out of your cover art, and how involved the writers are going to be in it, and the answer is typically not very, at all. So, when you're doing this, who is it that you're primarily working with? G: When I do work for magazines and books I'm usually working with the editor of the publication, so for the anthology it's usually an anthology editor, or for a short fiction magazine it is usually the art director of the magazine or the editor of the magazine. K: Can you walk us through the process of how you get started on this? They're obviously not coming to you with a blank slate, they're coming to you with a series of stories that may or may not have a theme. How do you get started working with this editor? G: It really varies, depending on the type of publication. So for anthologies, because they cover a lot of different narrative ground, usually we try to come up with an image that encapsulates the theme of the anthology. Like for Silk & Steel, I was doing one of the promotional postcards for them. We knew we were doing femme-femme, high fantasy, sword-and-scorcery kind of stuff. So I knew that those characters would have to be reflective of the book's content. Sometimes editors will give me a particular story that they aim to showcase for the publication, in which case I'll usually read the story if it's under 6,000 words, and try and come up with a composition that fits it the best that I possibly can. This is how I work with Strange Horizons. K: At what point do you usually come into the process? Are you typically involved right from the get go, or do they kind of wait until they have most of the story material? G: Usually when editors are doing their selections, they will wait until they have the written content first, because the written content is gonna dictate which artist they're gonna go to, to look for. Whose style best captures the feeling of their product? It's actually similar to traditional publication as well. The art directors at major publishing houses usually have a manuscript or summary for new debut authors whose manuscripts are already completed, and then they find an artist based off the existing manuscript. Some covers are completed beforehand, if the publishing house knows the author, knows the brand of that author and knows the kind of proposal or piece they are in the middle of working. K: You're gonna be sitting down with the editor, they're gonna give you a story that they particularly wanna feature, they're gonna give you an overall feeling or theme or - how much creative license do you get? R: I wanna interrupt because you just skipped like a really huge part: the creative brief. K: Yes. R: So what you just said, they're gonna give you a mood, they're gonna give you a theme or whatever, this is a whole step. Don't smooth it over like that. And this is something that actually Grace's got a little bit of a reputation for her knowledge on. So Grace I know you in, I believe it's November, are doing the Clarion workshop about creating a brief for a cover artist, right? G: Yes. R: So let's give this the spotlight it deserves! [laughing] G [overlapping]: Okay. K: Yeah, I've written a couple, I shouldn't have skipped over that, so apologies. G: I mean it's a specialized skill not everyone has to do them, so yeah. R: Well I definitely want to highlight it a bit, ‘cause you helped me with one - G [laughing]: That's true! R: What goes into the creative brief? Kaelyn named a couple of things, and this sort of forms the silhouette around which Kaelyn's question pivots, which is how much creative control do you get as an artist? So what's in the brief that you consider sacred, and what's in the gaps that you get to play with? G: So, that - K: Well first, and I'm sorry to cut you off - I'm sorry - can we say what - [laughing] R [overlapping]: I'm gonna interrupt you back! K: That's fair, that's fair. Can we kind of say what a creative brief is? G: Oh yeah, sure. So essentially when you are starting to work with an artist, an artist does not have the time to read an entire manuscript of 400+ pages. Their pricing is usually based off of the time that they're gonna spend creating your artwork. So you need to provide them with what is known as a creative brief, or art brief. And these are small documents that are very instructional, no more than like a page or two long, that explains the kind of image and feel that you are going for, for this assignment. The assumption is that you would have done your research and sent this brief to an artist that you think would do a good job for the publication that you're sourcing art for. So you're not gonna go to someone who does only black and white work if you want to sell your book with a big, bright, neon, 80s kind of cover. G: ‘Brief' is kind of the keyword here. You're essentially writing instructions for an artist. Don't try to lead them in using prose writing, tell them what they're gonna be drawing. It's a bit like a recipe list. So if it's a story about vampires and you want your vampire main character on the cover, you would specify that that's what you're looking for. Or, let's say you're trying to sell more literary up-market fiction, which doesn't use as many figurative images. Then you would maybe make an explanation about like ‘oh this book is about a woman's time when she was living as a child in Philadelphia.' In which case you would sometimes kind of refine that into a visual or item metaphor that you would ask the artist to render in a specific way that captures the mood and feel of the book, and leverages the imagery that's common to that market, so that it can reach the correct audience. K: Gotcha. Okay. So then you're gonna get this brief, and presumably dig into it. Do you ever receive a section of text, if there's a scene in particular that they'd like illustrated? G: Specific scene commissions tend not to be used for covers, because they're not very good at selling a publication. Scene work tends to be done for interior illustration. So these the the images that go along in the story; you look at these images as you are reading these scenes. But for the front cover you're trying to provide one image that sells the entire mood of the story to a particular audience. So in general you want to avoid using specific scenes, unless that scene comes in very early, because you don't wanna spoil the ending of the book. You only have one picture to play with for a cover, meanwhile with interiors you tend to have a series. You can do like a chapter header, like in the original Harry Potter American versions. K: It's funny you say that, because I was thinking about how I remember when the Harry Potter books were coming out, and there were always the American and the British cover versions, and everyone would be over-analyzing and try to pick apart ‘okay what's in the background here, what's happening in this scene.' But yeah because those covers were all more or less specific scenes from the book. They were a little abstract. G: Exactly, but it's - the keyword as you just said it is that they were scenes but they were abstracted. Actually tapping into that same visual metaphor that I mentioned earlier, for literary up-market, it's just because they're cramming so many things - what they're actually doing is creating one image that forces you to look harder at it to find all of those metaphorical connections with the story inside. If it has the hippogriff on it and the Chamber of Secrets journal and the Goblet of Fire, these are all singular items that you don't actually see in those covers how they relate to the story, but you know that this is an important item in the story. Ergo, which Harry Potter volume this cover revolves around. K: Do you get scenarios where somebody says ‘I want you to draw exactly this and I want it to look like this,' or do you generally give them a few different ideas or rough sketches and then go from there? G: Generally the things that I like to have control over are color palette, camera angle, the stuff that would be considered very technical for an illustration. Perspective. Whether things are shot from above, shot from below, because these are all illustrator tools that help dictate the mood of a painting. And the mood is actually the thing that I usually ask my clientele for. Mood translates to ‘how are we supposed to feel when looking at this?' Because feeling is very closely tied to genre. G: So, what kind of book am I trying to sell? Is it a horror book? That dictates what kind of colors, what kind of camera angles that I'm going to use. But if somebody tells me ‘I want a top-down shot of something-something,' then that feels a bit invasive to me because I feel like if I am an artist then I can select the camera angle to best convey the drama that you're asking for. But the things that are really good for me are the object or character or focus, and if there is a character the kind of action that is being performed. A lot of times we get character description but no action, and the action is actually what tells us what the character is like, and separates it from the design. K: Yeah so you don't just have two characters just standing there looking straight forward at the camera - G [overlapping]: Yeah. K: - dressed the way they told you to dress them. G: Yes. [laughing] Because basically that would be really difficult to create an interesting illustration for. K: Absolutely yeah. [laughing] G: It's kind of like going to the mall and you see the clothes being sold on mannequins. Like it helps sell you the clothes but it doesn't tell you what the story is behind the people wearing the clothes. It helps to have stuff like props, backgrounds, and actions to help convey like, ‘oh yeah if this character is wearing a t-shirt and jeans, is this t-shirt and jeans part of an urban fantasy? Or is it a part of a YA contemporary romance?' K: How much back-and-forth do you generally have with the editors you're working with? Like what is the first thing you give back to them? G: This generally varies per artist, including the artists I work with. So usually what I do is between one to three thumbnails or sketches that I hand in to the editor and ask them ‘what do you think of these directions,' ‘which one of these thumbnails' - which I then proceed to refine - ‘do you think hits the target best?' Then if it's a very large piece of work I might work on a more refined sketch and pass it in, or like base colors and pass it in, and minimally it's usually the thumbnails plus the finished drawing. So that's two to five back-and-forths, depending on the size of the piece. R: How much do you let the art director or editor you're working with go back to the start? I know you probably don't let them past a certain point, like ok you approved the thumbnail so we're moving forward, we're not going back to thumbnails after that, but what if they don't like any of the initial thumbnails? G: Yeah so basically most artists I know have what are called revision fees, and these are generally written into the contracts that you sign upon working with them. Basically saying ‘you get this many thumbnails, you get to give comments this many times, and if you go over those times there'll be an additional fee.' Because artists are basically charging - it's a service-based industry, and your haircutter charges you per hour, and so does your artist. And generally if they aren't happy with the thumbnails, then I would then incur the revision fee, but also I ask for further information. G: So, if you as a writer or editor aren't happy with what your artist is turning back, you need to be able to explain what you're not happy with. So you can explain like ‘oh I don't think this color palette is appropriate for this target market. Here are some images of other books that have come out in the same area that we think would be good inspiration for you.' The only time that revision becomes really frustrating, outside of a timing frame, is when your client says ‘I don't know what I want but I'll know it when I see it.' R: I knew you were gonna say that. [giggling] As a graphic designer I also hate those words. G [laughing]: Yeah. K: It's like okay I guess I'll just keep throwing paint at the wall and see what happens. G: Like revisions aren't bad as long as the client is able to convey what needs to actually be changed. R: Not a series of no-thank-yous. K: Have you ever come across a scenario where you've kind of had to take a step back from the project and say ‘listen, I think maybe I'm not the right person to do this.' G: Usually I'm good enough at heading that off before a project even begins. K [laughing]: Okay! G: That is something you come to with experience, you understand your style, your way of working as an illustrator, and knowing like ‘hey this type of thing is going to be too out of my ballpark,' ‘this type of thing is not gonna pay enough,' ‘this type of thing is just too much work for what I'm capable of doing right now.' That is kind of like you're responsible, as most freelance artists are independent business owners essentially. They'll usually say so up front minus extenuating circumstances. Like at work we've had people drop out because they acquired COVID in the middle of an assignment, so - K [overlapping]: Oh god. G: - there's really nothing you can do about that. [laughing] K [laughing]: Yeah. Have you ever been presented with a commission, talked to the person, and thought to yourself ‘I don't think they have a good enough handle on what it is they're looking for here, and this may just end up being a headache'? G: Yes. That has definitely happened before, ‘cause I don't have much time. So if I feel like the client either lacks the direction and communication to give me what I need, or if they're simply asking for too much, then I will usually politely decline them, within the first couple of emails. K: Obviously you're not reading all of these books and you're working off the creative brief. Is there anything in particular that you get these, you're trying to make sure you're communicating in the feel of the book rather than an exact representation of what's going on there? G: Yeah. So I'm not trying to recreate a 1-to-1 specific moment from the book. I'm trying to generate a piece that, as you said, evokes a major theme. A lot of times I'm asked to do character work, mostly because that is something that I enjoy doing and specialize in; I love character and costume design. Like you've never seen a spaceship in my portfolio because I'm really bad at it. K: I looked through it, I didn't see one. [laughing] G: Yeah, don't put stuff in your portfolio that you are not good at painting and don't wanna paint. Like people come to me because they're like ‘oh this person does kind of anime-inspired fantasy characters,' and so that's kind of like a niche that you can reach other people who like anime-inspired fantasy characters. So things for me that I consider important is, I like to know a character's build and ethnicity. G: Stuff like ‘oh the character's mouth is a Cupid's bow' or like ‘they have eyebrows that are waxed to a certain angle,' that's a bit too specific. Or like ‘they wear ten rings.' Because if you mentioned that the character wears ten rings, it automatically makes those ten rings really important. And you have to wonder, are those ten rings really important to actually selling who this character is? Do those ten rings have a narrative function in the story? If so, do you wanna include the rest of the character, or do you wanna focus on that character's hands and the rings, as a way to say ‘hey this is what this story is about'? Because it's very hard to include such a small item and such a big item together on the same image. There's a lot of physical limitations to representational art; similar as it is, it's really challenging to get a photo with both your shortest friend and your tallest friend at the same time and not have a giant gap between them. [laughing] K [laughing]: Lot of negative space and awkward positions. G: Yeah. R: Well this is where your control over the perspective comes in, right? So that would be a shot from below. K: Or above! Really above. [laughing] G: Yeah. So one of the things that I like to ask for is no more than two or three key items, I would call them, that differentiate who this character is from all the other characters. Like you can say ‘yes, she is a Black woman' or ‘yes, he is a muscular man of European descent.' But Aragorn is defined by Andúril, his sword. Once you stick that sword on Aragorn, you know ‘hey this is a high-fantasy Tolkienesque property.' So I'm looking for a handful of items like that, to help show who this character is and how they differentiate and help sell the genre, setting, and time period. K: Covers are telling people things without explicitly telling them that. Like you mentioned you give Aragorn his sword or a similar character, you're stating ‘hey this is a high-fantasy book.' If there's a background in it and it's castles built into rolling mountains, that's also indicating things to somebody who might be potentially interested in reading it. Do you spend a lot of time or give a lot of attention to trying to signal to potential readers that this might be something they're interested in, or do you kind of let the cover do what it's gonna do? Like how much do you try to work elements into it that are telling you things about the book without telling you things about the book? G: I usually try to focus on having as I said up to three of those key items - K [overlapping] Okay. [laughing] G: - because, as you said, castles are really common in a lot of European-based high fantasy. So you can leverage that castle, change it up, be like oh is it a floating castle that implies that there's a certain kind of magic? Is it a castle that's built into a hillside that implies another sort of magic? And so when I'm doing that I'm not necessarily looking at other pieces that are within the same genre, because the same genre-ness comes from the castle itself. I'm trying not to make a cover that looks exactly like every other cover out there, because this writing is probably not like every other fantasy story out there. K: Mhm. G: I'm actually specifically looking for those key items that differentiate it within its own genre. K: Any good stories, or interesting things that've happened here, your favorite piece that you've worked on or something that was particularly challenging? Maybe not just cover art but any commissions in general? G: All of my really funny stories are actually just from when I was doing random stuff for anime cons. I've had to draw a woman making out with Loki, but the woman is not herself, the woman is Kate Beckinsale. Fandom's strange. R: So you drew Kate Beckinsale making out - K [overlapping]: Making out with Loki - [laughing] G: Yes. R: And let the woman believe it was her? G: There are certain things you simply cannot draw. You cannot draw the flow of time. If you have a single image, it is very difficult to have anything that goes from step one and step two. [chuckling] And convey two images in a single image. K: Those Animorphs covers used to do that. G: That's true. And they had the little flipbooks in the back. K [laughing]: Remember that? G: Yeah. K: What advice would you have for somebody who, like let's say they're going to self-publish, or maybe somebody who hasn't really done this before but is looking to commission a piece of art - what advice would you have for them? G: For prospective clients, I generally ask that they do their research beforehand, essentially. Like working with artists, we have our own system, our own language, essentially, for technical stuff, for our materials, our use of camera angles, our use of colors. And to kind of understand what is within and without our control. So don't expect an art piece to be able to capture your entire story, because your story has some form of linear time in it, which art inherently will not if it's a single image. And that usually requires a lot of trust on the part of new authors, because this is their baby, right, they spent a lot of time on it and they wanna give it nice clothes. K: I love that by the way - G [overlapping]: [laughing] K: - they wanna give it nice clothes, that's perfect. [laughing] G: And like, a lot of us really understand this, but it's really helpful for us if you are to distinguish things that are and are not concrete. If you have a story that's based on music and you want your cover to celebrate the fact that it revolves around song, artists cannot draw a song. Unless you have synesthesia, you're probably not gonna look at a piece of artwork and hear music. So you're gonna have to come up with concrete visuals to convey this. G: So that main character, how do they produce this music? Are they a violinist? In which case yes, a violin can be drawn, that's very clear, very easy. And so just coming up with those small as I say key items, that would probably be one of them. Coming prepared with those and trusting the artist to interpret that - you can always say ‘hey, my book is about song, that is why I'd like to include these items,' but don't throw them into the wind with ‘my book is about songs' and - K: ‘Draw me a song.' G: Yes. K: You had mentioned revision fees, now again a constant theme in this podcast is contracts and read your contract and check your contract. Typically if you're going to engage an artist they're going to sign a contract with you. By the way, if the artist is not interested in signing a contract with you, and this is a custom piece, maybe that's not the artist to work with. But you're going to have a fee schedule, you're going to say ‘okay up front this is how much I'm estimating this to be but there are additional fees and costs for revisions, for changes, for going back.' K: We've definitely had to, with artists we commissioned for covers, go back and say ‘hey listen, something came up and we need another version of this, can you tweak these things?' And that's fine, it's just an additional charge. Is there anything in particular you would say to the people who are looking to commission an artist to just be aware of and expect, so they're not 1) shocked or 2) completely overlook something, in terms of costs associated with this kind of thing. G: Art is skilled labor. K: Absolutely. G: It's gonna vary per artist. Some people work faster, some people work slower. The type of publication is also going to affect the cost. But do not be surprised if an artist asks for a living wage, in terms of hourly money, because this is what they do; it's generally not a side job. K: Art is a skilled work that needs to be paid accordingly. There's a reason you're having to go out and find somebody you need to do this, because it's not an easy thing to do. G: Yeah, you're gonna be looking at prices significantly over part-time retail, because this is full-time work. Artists pay taxes on top of their stuff, and they are in charge of maintaining their own tax books. The high prices also cover their cost of living, the materials, 30% of it automatically goes to taxes, so those rates are going to be relatively high. A lot higher than I think what people expect. I feel like sometimes when people are new to commissioning, they'll expect it to be something in the price range of like ‘hey, I'm asking someone to in their off-time help me out at home with this, etcetera, or babysit my cat.' R: They wanna pay you 20 bucks and an extra pizza. G: Yeah. K: Well they're looking at it in like hourly rates, not realizing that it's not just hourly. Like you said there's taxes, there's material, there's - you don't get something then immediately sit down and start drawing it, you have to read some things, you have to think about it, you have to process, there's a lot of invisible hours that go into this as well. G: Yeah. R: You might spend - random number - 12 hours working on a cover, but that skill that you developed to create that cover is not 12 hours worth of skill-development, that is the lifetime that you have put into being an artist. So if anybody is thinking that ‘well the cover for my book is just a box I need to check off on my way to publication' - G: Yeah and that high hourly rate encompasses the work of emailing back and forth and sending the revisions and all the administrative stuff that the artist has to do. Artists generally do not have assistant teams, and they are not big publishing houses. K: The phone call was two minutes, it took me five minutes to read this thing, and ten minutes to write a response, but all of the stuff in between is additional time. All of your back-and-forth with your artist, all of the discussion that you're gonna have, all of the time that you the artist have to sit and think about this and do some sketches and stop and walk away and collect your thoughts, all of that is your valuable time. R: We've been talking about hourly rates. But every time, in my personal experience, that I've commissioned a cover, I have been given a flat number and then the contract as we've discussed talks about how many revisions or whatever are included in that number. I assume this is the practice of this person doing covers so frequently that they have a general ballpark of what they need to earn to justify what a cover is. But that's still based on a living wage that they're creating for themselves. G: Correct. That's usually it. R: When somebody gives you a flat rate it's not that this is a flat rate and someone else is going to just give you like ‘$85 an hour please.' G: Yeah. K: Well are you calculating your flat rate based on how many hours you, in your experience, know this takes? G: Yes, that's exactly what most artists do. Because clients tend to not want to bill per hour, because it's a single gig, most artists will give a flat rate based off their previous experience of how long something is going to take, which is why when back-and-forth gets too much, we incur revision fees. Because usually the flat rate is based off of our average experience of a client who spends this much time talking with us, and this much is gonna have to go to taxes, etc. And because flat rate is generally easier for clients and billing as well. R: Yeah rather than an open-ended number where they have no idea, and there's probably some paranoia that if you don't know the person well you might just keep billing them for stuff. G: You're gonna find contracts that specify hourly rates for longer term stuff, like visual developments or several character designs, or if you have a world that you're trying to build out for a TTRPG or concept art for a new video game or something like that. But for single one-off jobs, it's usually the artist will give you a flat rate number based off of their estimation on how long the gig will take, which is why sometimes these flat rate numbers look gigantic. But remember, again, that's based off of an hourly rate. R: Now do you ever get an email from a potential client and you go ‘oh yeah I better double the number, based on the way this email is written'? G: Yes that has happened before; the asshole tax is a pretty common practice - K [overlapping]: [laughing] G: - among artists. We are factoring in how long something is going to take as well. K: And by the way along the flat rates and the contracts and Grace I don't know if this is how you typically handle this, but when we would do book covers it was usually half up front, of the flat rate, and half when the work is finished plus any additional revision fees, which for us was always just a like ‘hey here's the down payment if you will to show we're serious and to get started.' Artists put a lot of time into this, and if you say ‘well I'm gonna pay you when this is done' and then they go ‘I don't like it. Forget it. I don't want it anymore,' that's a lot of time and energy that the artist has now wasted for no return. G: Yup. Most artists will not start without half to full payment upfront. I'd say like 95% of them won't. ‘Cause everybody has been burned very early on in their career by somebody who asked for work and never paid for it. So you only let that happen once. [laughing] Yeah. Always be prepared to have the money ready, like half the money ready, before the artist will start working. If you have a relaxed deadline, a lot of artists are really chill about just letting things kind of be like ‘oh I have this email of somebody who's interested' but it doesn't become real and doesn't actually get scheduled until there's money down. K: Artists have schedules. And they have open time slots and things that they might not be able to fit you into. How much of a lead time would you say they need to leave, in order to have a fully completed piece of art ready to go? G: I'd say at the minimum one to two months. I know people that can turn stuff around in two weeks, but if you're looking to get something done in the one month range, you're probably looking at a rush fee. Artists usually keep one to two jobs forward, like they have something but they're working on something lined up, and they usually have maybe another one lined up. And so if you demand something immediately, then that means they have to rush the next two. K: Mhm. G: So usually they will include a rush fee for that. K: I mean essentially it's overtime - G: Yes. K: - at that point, like I'm having to work extra hours outside of my regular schedule so that I can get to your thing faster. G: Yeah. And the lead time will very specifically vary per artist, because if you're trying to get someone who's like super super popular, who has a large number of clients already, you may be waiting like a year or two. Like. [laughing] K: There're science fiction cover artists out there that, like two years, if you want anything from them. Some of those people have incredibly long lead times on these, and their schedules are just full like over a year. G: Yeah. Like for me, I tend to be booked out about four to five months in advance, personally. But I generally, I will do rush fees and I'll also do smaller client pieces here and there that I know I can fit into a weekend. But again it really is up to that individual artist. I know how fast it takes me to complete a piece, but when I have 50 things going on, yeah it might take 20 hours to do, but if I have ten things that all take 20 hours, then I have a lot of time management that I need to figure out. K [laughing]: Yeah absolutely. When you finish a commission, when you finish a piece, how are you getting it to the person who is actually going to use it then and turn it in for the publication? Because a lot of these pieces are, they're very high resolution, they're very large files, and what does this look like - First of all what kind of a file is it, what does it look like? And then 2) how are you getting it, and how do you set it up so that they can manipulate it the way they need? G: So usually for clients I send a flat image, unless a layered image is requested - R: And let the artist know that at the beginning. G: Yes. K: Yes. G: Yes, layered images will usually incur a higher charge, because it implies that you will be editing the image afterwards. And so basically you need to buy some rights, the editing rights, from your artist. So that'll be a higher charge up front, when you write your original contract. Usually because I do a lot of web work, I just deliver a high resolution JPEG, high resolution PNG, and that's fine for my clients. For other major work especially if you need a layered file, PSDs, Photoshop files, are generally the common way to do it. In which case you upload a massive, massive file to a file transfer service such as Dropbox, or a lot of companies often have an internal file transfer upload - you log onto their system and upload directly to their system. K: If you're getting, especially one of those huge high-res layered images, you need to have a program that can manipulate it. You might need something additional on your end to even work with the image then. But also like, these files are huge. Typically they can't just email it to you. There's actually file transfer services as Grace mentioned, where you drop these and it's just in there for like two days. And you've gotta go get the file within that two-day period. G: Yeah. I think for major transfers I generally lean on Dropbox and actually just sometimes Google Drive. They're not exactly super secure, but like - K: [laughing] G: - few very people are going around sneaking your self-pub cover, like. [laughing] They'll just delete it after you've got it. K [laughing]: Well, you never know, Grace. Maybe someday somebody will steal something that you've done and leak it to the public, and - G: That actually would be really bad. [laughing] I work for Wiz of the Coast, if it happens then it's bad. R: Secure FTPs from here on out. [laughing] K: Multi-factor authentication in order to get these files. G: Yeah. R: So Grace, I happen to know, because I am on the inside, that you are - at the time of this episode coming out - you are the guest art director on the next issue of The Deadlands. G: Yes! Yes I am. [laughing] R: So from the other side of the table, how do you go about picking artwork on behalf of who are essentially clients here for their magazine issue? G: Cool. So, for The Deadlands I worked with Cory, who is the main art director, and I looked through the existing repertoire of work that had already been selected for Deadlands publications. Cory was very helpful too in kind of summarizing up the visual style of the magazine, as stuff that's more dark, more photo-real, lots of use of textured work, and I could see it in all the previous selections that'd already gone through. So based off of that, I was using my knowledge of my time in the art community to find pieces that I thought would resonate with that style. G: I was also provided a showcase short story essentially, for that issue, that they thought like ‘hey it would be good if the cover resonated emotionally with this written piece.' So I was looking for stuff that leveraged the visuals within that story, visuals of growth and forestry in particular, goes with a nice visceral story. They gave me the rest of the stories to read too, but as just more background information. And so I went to the portfolios of some of the artists that I knew worked in that kind of emotional field, like artists that did a lot of dark work, artists that do a lot of work in monochrome spaces, and so I looked in their portfolios for work to license that fit the forest-y theme of the showcase story. G: And so I took a couple of pieces that I thought were good, showed them to Cory, Cory showed them to the editor, and we moved forward with one of them. I contacted that artist; they spoke English as a second language so that's another thing you have to watch out with artists, so you have to be very clear and direct in your emails to make sure that you can be understood when your email gets thrown into Google Translate. And then I put Cory in touch with the artist for final contracts and payment. R: This is coming out on September 14th; the new issue of The Deadlands should be out on the 19th, so make sure you check that out, because you will see the cover that Grace picked, and the art that fit into the style, and I happen to know from behind the scenes that everyone was really enthusiastic about your choices. So you made a small mention, but we should probably highlight just a little bit - this is licensed artwork, the artwork already exists, you didn't commission something new, this is a piece that the artist already created either on commission or just as part of their creative process on their own. And so the artwork is available for license, which means that in a limited capacity it can be used again. Can you explain a little bit more about licensing? G: Yeah. So licensing is essentially buying rights to print an image, whether it be like a t-shirt or whether it be like your book cover, and it kinda goes through a separate route than commissioning. So commissioning essentially you are paying for a service, you're paying for an artist's time to make custom work for you. For licensing, it's closer to buying rights, and you're saying ‘I want to pay you x amount for the right to use this image in my piece. And generally artists are pretty lenient about licensing, especially if you are doing a non-exclusive license. It's basically free money for us, like you're paying us for something that we've already created, there's no additional hourly time that we're gonna have to handle other than administrative fees, which are usually more than covered in the licensing. For that you just generally email them and ask them if they have a licensing fee already, or you can generally look for standard licensing fees for products of the same type as yours. G: Most magazines and such will print how much they pay for licensed covers, in part of their artistic submissions and generally you can offer this rate for similar products within the field. When you are commissioning, though, these rights and usages will actually be factored into the contract. For example, if you want to be the only person who can use this work, you want the artist never to sell this work to another licensee, then this will factor into the cost of your original contract. The flat rate that the artist gives you might be higher, because basically you're saying they can't make future money off of it by licensing it to somebody else. ‘Cause copyright-wise, the image I believe is retained with the artist, unless the rights are completely bought out in the contract. Like I believe most contracts are they pay for the work and they pay to license the work, so an exclusive license would be the license fee but higher. R: Kind of like the layered file, like you know that this person wants to own this image and do whatever they want with it, so you kind of charge extra. G: Yeah. I'll charge even higher if somebody is like ‘you can never show this in your portfolio,' like you can't even use this to get more work later. K: I don't understand why anyone would want that. R: Yeah. K: Ok. G: It really has to do with intellectual property NDA-type stuff, so if they're like ‘this is a super-secret project, this is too early on,' ‘cause usually it's like artists get to post in a portfolio once the thing has been released, but if they're worried a project is gonna be canceled and they wanna hold onto the image in case they wanna use it for another project, then that would bar them from putting it in a portfolio. This is more common practice among artists who work in video games and animation, where their projects are constantly like revolving, canceled, there's a lot more asset reuse, yeah. R: Alright so. There [laughing] is a lot of information on licensing, on contracts, on payment structures. Be nice to the artist, ‘cause look at everything they're already balancing. K [overlapping]: [laughing] R: So any final thoughts, Grace? Anything we haven't touched on that is a bugaboo for you, that you wanna make sure we warn people or - G: I feel like we've covered a lot. R: - invite people, it can be inviting too. G: I dunno, come to my class November 13th. It's a free business class on how to write effective art briefs. [laughs] R: Yes, that's through Clarion West. G: It'll be through the Clarion West, yes. R: Yeah, so we will put the link to that in the show notes. Hopefully the - is it unlimited spaces, or is it limited? G: There are one hundred spaces, I think like 40 of them are already taken. R: Okay! So by the time this comes out there'll be less than 60 available, so make sure that you go find that link in the show notes for that free workshop, because I think a brief is going to make you as compatible as possible with the person that you commission. Because you wanna make their job easy, so that they don't wanna charge you extra. K [overlapping]: [laughing] R: And also so that they still love your project by the time they get to the final artwork. K: Yeah, so they don't have some sort of visceral shudder reaction every time the name of that book or project comes up. [laughing] G: Things also go around. Artists talk to each other, so if you give one a terrible time, then a lot of them will not wanna work with you anymore. K: Yeah this is something not just in art and publishing, but I think most industries - people who work in the same field talk to each other. Artists do not exist in a bubble, they are not all hiding in some dark studio bent over an oil painting that they've been devoting their life to - G: I mean we are. K: Okay. G: But we all just have Discord open on the side. K [laughing]: The room has internet access, yes. Grace thanks so much, this was great. I think this was a lot of really good information that people kinda dipping their toe in the water here may not be aware of, or know how to find easily. But speaking of finding, where can people find you? G: Ah, you can find me on ArtStation, at artstation.com/fictograph. It's like pictograph but with an f instead of a p. That is the same on Twitter, where it's mostly cat photos. K: [laughing] R: Alright we will put those links in the show notes too, so you won't even have to spell anything. Just go find a link, and go find Grace because Grace has a lot of amazing artwork to look at, and also might be the perfect artist for a future project of yours!

It's 11 o'clock. Do you know where your death is? Jasmine Arch narrates. #gaslamp #DarkFantasy #YA Author Natasha C. Calder is from Ely, UK. She has an M.Phil in Medieval Literature from the University of Cambridge and is a graduate of Clarion West 2018. Her work has previously appeared in The Stinging Fly, Lackington's and Burning House Press. Reader Jasmine Arch is a narrator, writer, and poet whose brain thrives on chaos and caffeine. She lives in a rural corner of Belgium with four dogs, two elderly horses and a husband who knows better than to distract her when she's writing. Find out more about her and her work at JasmineArch.com. Leopold: Michael Allen Rose Full show notes at GalleryCurious.com

Monsters know you better than they know themselves. Val Rigodon and Zin E. Rocklyn bring you stories inspired folklore and heartache. "Little Red" by Val Rigodon, Read by Tony Perry ​Val Rigodon is a poet, writer, and occultist from Brooklyn, New York. She is a 2019 Poets’ House Fellow and a member of Brooklyn Speculative Fiction Writers. She is also a J.D candidate. One day she hopes to own a house by the sea. Val is extremely honored to have her story featured on the Kaleidocast. Tony Perry is an actor and singer-songwriter. He narrated the film Lost and Found, and the audio comic The Captain Punishment Adventure Hour. He has performed in English and Yiddish, and he’s happy to talk about all things Doctor Who. "Summer Skin" by Zin E. Rocklyn, Read by Laurice White ​Zin E. Rocklyn is a 2017 VONA, 2018 Viable Paradise (22), and 2020 Clarion West student. Her work can be found the anthologies Forever Vacancy, 2017 Bram Stoker Nominated Sycorax's Daughters (of which her story Summer Skin was long-listed for Best of Horror 2017), Kaiju Rising II: Reign of Monsters, Brigands: A Blackguards Anthology, and Nox Pareidolia; the zine Weird Luck Tales No. 7, and tor.com. Her non-fiction essay “My Genre Makes a Monster of Me” is in Uncanny Magazine’s Hugo Award-Winning Disabled People Destroy SF&F 2018 issue. Her website, terizin.com, is currently under construction. In the interim, follow her on Twitter @intelligentwat." Laurice White​ is an actress, poet, writer, and student of the art of Voice Over.

Hello! Welcome back to another October Podcast Month episode! If you’re a free subscriber, you might have noticed you didn’t get an episode on Friday. This is not because I stopped podcasting after one brief reappearance; it’s because I made Friday’s podcast for my paid subscribers! I spent all day Friday practicing for a live reading to promote the Kickstarter for Speculative Fiction For Dreamers. That Kickstarter ends Wednesday, and I’m reeeeeally hoping it meets its funding goal because I haven’t read all the other stories and poems and plays and things in the book! I need it to be real so I can! Image description: a screenshot of the Speculative Fiction for Dreamers Kickstarter as of 7:25pm Eastern time on Monday, October 19, 2020. It still needs almost $4000! Click on the image to go to the Kickstarter page and back the project! ANYWAY! Because that’s what I was focused on Friday, I decided to read that excerpt for my paid subscribers. Then for the rest of the weekend, I didn’t release podcast episodes because my original plan was always to take weekends off. And it’s a good thing, too, because I was Very Busy! This episode is all about the stuff I did and the ways I have seen people coming up with creative ways to hold social events and performances during a time when it’s not really a great idea for most of us to go out and meet each other in person. I talk about FIYAHCON and The Ignyte Awards, which were wonderful, and recognized so many awesome creative works and people. I am particularly excited to see Strange Horizons recognized with an award at long last after being nominated so many times in the past for other awards, but not winning. The team there truly does so much work to make the science fiction community more rich and inclusive. But seriously, every person and work that won an award is amazing, and I encourage you to check all of them out!I also captained a trivia team for Clarion West and attended a cold read of a new play by Liz Duffy Adams. So many cool ways to connect with people and experience art online! Tell me some of your favorite virtual events, or how you’ve seen them go poorly. I think both sides of it are interesting and important to consider as we forge ahead in pandemic time. This is a public episode. Get access to private episodes at omgjulia.substack.com/subscribe

Hello, everyone! I am back, and back with exciting news: I’m planning to be around a lot more this month! Thank you to everyone who has stuck with me while I’ve been sick and recovering and relapsing and recovering some more. I appreciate your patience!This is the first episode in my October weekday episode extravaganza. I’m taking a leaf out of the monthly challenge books (like Inktober and National Poetry Writing Month), and committing to doing one short (roughly 5 minute) episode each weekday (Monday-Friday) in October. Starting today!Most of these will be free episodes, though a few will be just for my paid subscribers, and I’ll be reflecting on creativity in some way for each one. I know a lot of people who do NaNoWriMo (National Novel Writing Month) in November use October to prepare for that challenge, so some of you may be outlining, etc. Some of what I’ll do this month is dig into tips for that sort of marathon creative prep, but I am also open to answering your questions, or diving into topics you propose. Definitely hit me up if you have something you’d like to see me cover. This first episode is mostly to lay the groundwork for the rest of the month, and for catching up on what I’ve been up to. Here are all the things I mentioned:Here’s a Kickstarter for an anthology of Latinx speculative fiction called Speculative Fiction for Dreamers. I have a story in this one, and I am very excited to read all the other stories and poems in it, too! There are many reward levels including ebook, paperback, and things like creative consultations. I am offering a half hour video chat, so if you have always been dying to ask me questions about writing or editing, this is one way to get my undivided attention.I’m also going to be a trivia team captain for Clarion West’s fundraiser trivia night! This is happening on the night of October 17th at 6pm Pacific time. You can join my team for $15, and all the proceeds will go toward supporting the excellent work Clarion West does, including classes, readings, scholarships for people who need them, and so on. Come on and let’s have some fun!Registration is still open for my two upcoming Clarion West workshops as well. If you want to learn how to grip a reader from the start and deliver a satisfying resolution, you can sign up for Beginnings that Grab and Endings that Land, both of which will be happening in early November. There’s also a Kickstarter going right not for Constelación (AKA Constellation), a bilingual magazine of science fiction and fantasy. I am not involved with this one at all, but I know many of the people who are, and I can’t wait to see what they do!Wizard Seeking Wizard is a fun fiction podcast in which a wizard who is trapped in a crystal sphere has decided to be a matchmaker and welcomes other wizards’ personal ads. I have a small role as a wizard named Flora Bunnyhop who’s seeking a rival. This one is just a silly fun time, and also totally free to listen to. If you do decide to listen, you can also vote for which wizards you would like to see more of. This is a public episode. Get access to private episodes at omgjulia.substack.com/subscribe

Hi everyone, and thank you for tuning in to another episode of the We Make Books Podcast - A podcast about writing, publishing, and everything in between!   This week we were lucky enough to sit down with Michael R. Underwood, author the upcoming novel "Annihilation Aria" from Parvus Press.  Full disclosure: Kaelyn was Mike's editor on the book and so we got have an extra in-depth and behind the scenes discussion about the craft of writing and how characters, plots, and worlds can change and adapt as the story is written.  Mike was a fountain of information and knowledge and we both left the conversation with some amazing insight into the process behind creating a book with such rich world building and dynamic characters.  We had a great time talking with Mike and hope that you enjoy the conversation as much as we did.   We Make Books is hosted by Rekka Jay and Kaelyn Considine; Rekka is a published author and Kaelyn is an editor and together they are going to take you through what goes into getting a book out of your head, on to paper, in to the hands of a publisher, and finally on to book store shelves. We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, concerns, and if you've read Annihilation Aria, let us know what you think!   You can (and should) check out Mike on social media at:   Twitter: @MikeRUnderwood Website: www.michaelrunderwood.com   Annhiliation Aria is available everywhere awesome books are sold on July 21, 2020!   www.books2read.com/annihilation-aria   We hope you enjoy We Make Books!   Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast   Episode 39: Annihilation Aria with Michael R. Underwood transcribed by Sara Rose (@saraeleanorrose)   [0:00]   R: Welcome back to We Make Books, a podcast about writing, publishing, and everything in between! I’m Rekka, I write science fiction and fantasy as R.J. Theodore.   K: And I’m Kaelyn Considine, I’m the acquisitions editor for Parvus Press.    R: And today, we have to make another full disclosure-confession. We have another Parvus author on today. You recently heard us talk to Scott Warren of the Union Earth Privateers book—book series, I should say. And today we have another author of another amazing Parvus book, Michael R. Underwood of Annihilation Aria fame, or about to be fame. I hope it’s fame because this book deserves it.   K: Yeah, Annihilation Aria’s coming out a week from when this will be released, so this is July 14th, coming out July 21st. It’s a fantastic book, space opera. When I first got the manuscript and was kind of giving a it a rundown to my publisher and the other people on my team, I described it as the gender-swapped Mummy in space.   R: Yeah. With magic. Well, I guess The Mummy does have magic, too.   K: Yeah, yeah but with giant space turtles, and therefore better.   R: Yeah, yes.   K: So Mike was kind enough to take the time and sit and talk with us about the evolution of story writing and character development. This book had been something that he was working on for years. It, well, the core parts of it didn’t change too much. The book certainly underwent a lot of evolution over the years. And MIke is so smart, so talented, has a lot of really great insight and advice to offer when it comes to, you know, being about to take a look back at your own work and figuring out how it needs to change in order to serve the story. So, we had a great time talking with Mike. Hopefully you have a great time listening to him, and you should, you still have time right now to pre-order Annihilation Aria, book one of The Space Operas. Absolutely check it out. Not only because I’m the one that edited it, but because it is an excellent book.   R: I totally agree. I got the chance to read it when I was recovering in the hospital and it was a delight. It was absolutely everything that Kaelyn and Mike promised it would be.    K: So, anyway, take a listen and we hope you enjoy!   [intro music plays]    R: Of course we just used up all our small talk, we don’t recall any of it. So, I guess we’re gonna have to go straight into it.   K: Dive right into talking to Mike Underwood today!   M: Hi! I’m sorry! This is the thing about being on a podcast that I’ve listened to. I have to actively keep my brain dial on the Talk to These People mode, instead of the Listen to These People mode.   R: I mean we can just talk about you, but it seems a little rude considering you’re in the recording with us.   K: Especially because none of us are in the same space right now. Usually Rekka and I are at least sitting across from each other.   R: I have the blanket that Kaelyn usually has today.   K: Ahh, my blanket! I miss that blanket. It sheds all over me, but it’s worth it.   R: Yeah, well, stuff has to shed in my shed…   K, disappointed: Oh, Rekka.   R, unashamed: It works with the name, but it’s also because it makes me feel less lonely for my pets that are in the house because we don’t want them shedding in the shed.    K: Alright, I’m derailing this conversation now. This just goes down a road of puns that there’s no recovery from, and then we have to start over again and it’s just… it’s gonna be a thing. So, Mike, do you wanna save us here and introduce yourself?   [K and R laugh]   M: Sure. I’m Mike Underwood, I write as Michael R. Underwood. I mostly do action adventure meta-genre kinds of stuff. I like found families, I like trope-twisting, and my next book is Annihilation Aria which is coming out with Parvus Press, so I’ve had the fortune of getting to work with both of you in a professional capacity and I’m very excited to talk about the book with your audience.   K: We’re really excited to have you on here, because this book has a long and storied history. This was not a, simply, Wrote Something, Submitted It, Got It Accepted and Published. There was, even before it came to Parvus, before I started working on it, you were, what? three-ish years into this book at that point?   M: Yeah, so. This book basically starts in the movie theater as I’m watching Guardians of the Galaxy.   K: Okay.   M: And like really enjoying a lot of what it did with tone and, kind of, bold visual style with all of the high technicolor space opera bits, plus some retro nostalgia aspects. And so that informed a conversation I had with an editor, who I shall let remain nameless, that I was talking with at a world fantasy convention. In that conversation, I mentioned that I really would love to write something that would make people feel the same type of joy and smile-so-much-your-cheeks-hurt kind of vibe, that I got while watching so much of Guardians of the Galaxy. And it’s not a perfect film because there are very few perfect films, but I loved that mode of space opera that it had. Where it’s a bit more irreverent, it still has some of the found family vibes that you see in something like Firefly or Killyjoys. But it’s on the more adventure-y, epicfantasy but-make-it-space and pewpew versus space opera that’s a lot more, that leans more towards hard science like something like The Expanse. I’ve always been more of a Dune- and Star Wars-end of space opera kid versus that kind of overlap between space opera and military SF or the [radio voice] This Is What Thing Will Be Like Seven Hundred Years In the Future When We Have An Alcubierre Drive or whatever. That’s not my thing.   [K and R laugh]   M: And so what I brought to it was, you know, a lifetime of loving Star Wars, but also various roleplaying games and wanting to find in a project, a place to say what I was interested in and investigate the things I loved about space opera. So I took a play from Annie Balay, who has talked about making up a wishlist of tropes that she loves about urban fantasy, and she put those into a series. So I just kind of sketched out fun, weird things. Like, “What if giant spaceturtles?” and space magic bullshit and—   R: Perfect.   M: And finding a way to just kitchen sink a novel, in terms of things that I liked. And it kind of started to build up momentum there. But because I wrote it as a back-burner project over years and years and years, where it started and what it has become now, there’s a big gap there and there’s a lot to unpack from what the characters were really about to how the world feels to, then, into the editorial process with Kaelyn kind of repeatedly inviting me to unpack things or slow down and give a deeper view into characters.   K: It’s very generous of you to use the word “invited you to”.   R: Yeah, I was gonna say. I know Kaelyn, that’s a very interesting verb choice.   K, laughing: “Mike, I’d like to hear more about this.” “Oh, okay, here’s a sentence.” “No, Mike, I know where you live, Mike!”   That was something that I, just for clarification I’m the editor of Parvus that worked with Mike on this in case that hasn’t become apparent. One of the things that really drew me to this book and that I was wanting Mike to slow down and unpack was the characters. For all the setting and the fantastical elements of this, the characters are such a huge driving force, I think, for the story. I would absolutely read anything that is just set in this universe. As long as the characters are as engaging, compelling, and fun as the ones that you’re written in Annihilation Aria. But you had kind of  a few things that you wanted to accomplish with the characters, as well.    M: Yeah, so. I’ve been in the same relationship since 2010, I’m happily married. My wife and I get along very well, and in science fiction, fantasy, adventure fiction especially there’s just not a lot of instances of happily committed couples. Let alone happily committed married couples. And I think there’s a lot of cultural reasons that go into this, that are probably several podcasts-worth of their own and would be best had in conversation with capital R, Romance writers.    But the short version was that I wanted to write the kind of story that really argues that Happily Ever After can also be really exciting. So that was one of the nexuses around which the story was built. Like, okay, well what if I do this but I have a couple that’s already together and happy at the beginning of the book. And not that they don’t face challenges and one at the start of their relationship was: these people who both have a quest that they’re trying to fulfill, if either of them gets what they want, theoretically the couple breaks up.   R: Yeah.   M: But that, when they meet, they’re like, “Oh, you can help me with my thing and I’ll help you with your thing,” except that along the way they fell in love. They’re still on this trajectory that theoretically means—that could mean the dissolution of the relationship, but they don’t really have anything else as a way of being in the world, because they can’t just be together and be happy. They have their own drives and they exist in a pretty oppressive system that requires that they have a lot of money because they both have exterior debts and things like that. The same kind of Firefly vibe.    So that tension between their attraction to each other and their individual quests that might pull them apart was one of the big engines that made the story move. So that when they run into this ancient kingdom, techno, biotech tomb that they run into early in the story, that gets a McGuffin in their hands that then becomes a big deal. And they’re each engaging with it and the things around them because they have these, sometimes competing, usually overlapping, drives that are motivating them.    And that, almost like a perpetual motion machine of character interaction, was really fascinating and I wanted to keep on working with, while trying to balance, respecting the fiction. There really is this chance that things could fall apart for them, while knowing that I wanted them to not break-up because that was part of the whole thing.   R: One thing that was notable for me, as I was reading the book, was that at no point do they not want the other one to succeed. They are so supportive of each other that even though it means that it would break them up, they exist on different planes. Yes, this fact is over here that if I got what I wanted, I would be across the galaxy from this other person.    But at the same time, same plane, they also really want the other person to be happy and to succeed at their personal character arc quest and it’s really, like you said, it builds tension but it’s just really nice to see people who support each other and, even though there’s this big divide between what’s best for their relationship versus what’s best for the individual.   K: Yeah, and along those lines—and this maybe might be a transition into talking about some of the more mechanical aspects of writing this—is that these two characters are Max and Lahra and they are two of the main POV characters, but when you started writing this, they were the only POV characters, correct? [12:46]    M: I think there were a very small number of POV chapters for Wheel, who is the pilot of the two main characters, and then Arek, who is kind of their primary antagonist. So he’s an agent of this galactic empire that controls the space that they live in. I had a little bit from each of them as counterpoint or context, but it was still very much Max and Lahra’s story and the other ones were just there to give a little bit of context and color.    And only over years of doing other projects and writing and growing as a creator, did I make the moves to promote Wheel and Arek as POV characters and to treat them with more depth and groundedness, as I engaged with them. Especially into the revision process, I saw and was convinced that there was more for the novel to do and it could be richer for digging more into the emotional lives of all four of those POV characters.   R: And you really did. Especially with Arek. He’s not the prototypical space-fiction villain. He’s got a lot of complexity to him. He is still definitely a villain, but he’s the least worst villain personality? And they’re definitely—again, you’ve given each character a drive and something that they’re aiming for which might be at odds with what the organizations that they work with are aiming for.  So, how did you make those decisions, as you’re developing? Especially a villain character, but also Wheel.    It’s really interesting that Wheel might have had a very tiny part just in the sense that Wheel is the owner of the ship that everyone lives on, I assume, and maybe Wheel has to help rescue at some point. Or Wheel has to support with something Wheel can witness that the other characters can’t, or something like that. I mean, I have obviously done the same thing with POVs where somebody was there because it was convenient to have another POV and then that person had to become a fully-rounded character of their own. But when you built Arek, you didn’t have to go that far. You still could have sold this book without going as far with Arek as you did. But, so why—how did you start to see Arek and how much sympathy do you, personally, have for him?    K: Well, and I’ll jump into just to add that you gave all of these characters a life outside of this story. Every single person, if they were not taking part in this story happening to them, would be doing something else. And we, the reader, are in a position where  we can kind of see or imagine what they’re doing because even though you don’t have to spend a lot of time on it, but it gives us a very good sense of them.    M: Yeah, I think a lot of how I approach characterization and writing is probably informed by growing up playing table-top roleplaying games. So, table-top roleplaying was one of the main ways that I learned to tell stories and to think about what I wanted from stories. Alongside reading and watching TV and movies and reading comics and things like that. So in a lot of roleplaying, you have the characters as they are and then you’re engaging with a game master who says, “Here’s a plot!” and then you engage with the plot. And that’s one style of game mastering, and more recent roleplaying games, a lot of them are more player-driven in terms of character agenda and shared narrative authority and things like that. And the Apocalypse World tradition from that game by Vincent and Meguey Baker and all the games that come from it.   So I brought kind of one version of acting experience to writing. In terms of: okay, here’s a character and they are my character and I wanna be able to inhabit them at least a little bit to get a sense of who they are, so that when I, then, also as the writer, can throw things at them. I’m able to jump between those registers in terms of inhabiting a character and kind of providing the antagonism or the context and/or all the other stuff that goes around a character. I think it was because I was familiar with that style—so much of what my writing comes out of is that if I’m gonna be in the POV of a character, it’s hard to not spend some time with them and to linger with them and to think about their agency and their—what they want from the world.    And as much as I grew up loving Star Wars and Darth Vader, and Darth Vader is a great antagonist but he’s not a great character in a rounded fashion because he’s so much of a cypher. He is the iron fist that punches at the protagonists. You get into the prequels and you see some of the backstory and—but that’s not what I grew up with. I was sixteen or so when Episode I came out and we really start to get that backstory for him. I think I moved toward this point where, at least some of the time, I want villains or, at least the personification of villainy or the person that the team is engaging with, to feel enough like a person that they are not just a moustache-twirling for. Because I’ve written more straight-up moustache-twirling villains in other books. Like in Shield and Crocus, which is very superhero-y, the villains kind of run the gamut. Some of them are just like, “I Am Really Terrible! HAHA! Oppression!”   [K laughs quietly]   M: In Arek, I think he started out as more of Lieutenant Bad Guy and he probably grew that roundedness when I thought about like, “Why is he the one who’s out here in the Boondocks?”   R: Mhm.   K: Yeah.   M: Who is the person within this species-supremacist empire that ends up on this bad duty? And, okay, I know that, from what I know about militaries and governments, okay you get a crap duty because you piss somebody off or because you’re out of favor. Well what is it like to be out of favor in this species of supersoldier, galactic tyrants? Why would that be a thing? So I started thinking a little bit about class and caste within a species. Or is it that he has some relationship to the dominant ideology of the species? So he ended up as being more humane than most of the members of his civilization.    Because of that, he was marginalized within this very domineering, fascist civilization. It’s a little bit of getting to talk about the way that oppressive civilizations oppress even the people that have power or that not everybody is equal, even within an oligarchy. Because the lines of oppression and pressures are not all along one axis. Everything is very multiaxial in terms of where people occupy more privileged or less privileged positions or are taking actions that put them more or less in line with a dominant paradigm.   Thinking about worldbuilding in that fashion is also really important to me. So when I take a character and put them through that bouncy castle of all these different things of worldbuilding, they tend to accrete a bit more personhood.   K: So, piggybacking off of that, and we kind of touched on this a little bit before, was that you wrote this over a lengthy period of time and there were characters that evolved, obviously, and became more prominent points for, well, viewpoints in the story. How much of that, do you think, was really getting comfortable with and learning about this world you were creating and wanting to build upon, and how much was that, we’re all adults here but, three years, you grow and change and you look back at things that you did before that and go, “Oh, well I don’t like that anymore.” How much of it was organic story-building and evolution and how much of it was going back and evaluating what you’d already written?   [21:35]   M: I think it was definitely both, and in a really integrated circuit kind of way. That life experience and working as a writer were very intertwined. I would fold life experiences into writing or I would develop my understanding of storytelling in a more nuanced fashion because I had time. And because I had time, I could let things remain and mull and simmer over time. Well, what if not just this layer of how Lahra’s civilization operates, but what if there’s this other thing that builds on what’s already there. There’s a multi-caste system and you’ve got the nobility atop and you’ve got soldiers and the soldiers serve the nobility and, well, in a civilization you can’t just have soldiers and nobility. You’re gonna have farmers, you’re gonna have technicians, you’re gonna have all these things.   Okay, so there’s these other parts of society and I had the title Annihilation Aria way before the Genae had music magic.    K: Mhm.   M: Because the title, Annihilation Aria, was like, “Oh, that’s cool because space opera,” and I’m riffing on that, but it’s its own thing. And, you know, world killers are a big thing in space opera. How can I take these things and make them my own? And then I realized, looking back, as I was picking away at the project over years, that I’d already set a foundation upon which I could build something that would give Lahra’s civilization and, therefore her backstory, more meat to it. As I was writing parts of the story where the Genae really matter, I was able to layer on these extra things.    Having more time to layer texture and history onto the story was really valuable and because a lot of the other ways that I’ve written—I wrote my debut and I got an offer to sell it very early in the revision process because of wacky circumstances for which I’m very fortunate. From there, I had several years of, “Okay, cool. So you have a contract, write a book. Turn it in. Production. Publication.” And so I wrote books that were much more condensed in their timeline. So it’s write a book over nine months, revise it over six months, it comes out, or sometimes a little bit more. Sometimes even a little bit less.    With this one, because I didn’t sell it on spec, and I was going in a different direction, it had this opportunity to accrete depth and texture over time. But I don’t want to have a writing career where it takes five years to do every book.   R: I was just about to say, is that something you recommend?    K: Real quick, Mike, if you wouldn’t mind backtracking to kind of go on a little side tangent here. You said “write a book on spec.” For our listeners that maybe do not have as much experience in the professional writing world as you do, what are you saying here? What is writing a book on spec versus what you did with Aria?   M: Sure. So, I sold my debut having written the whole book. And then: cool, we wanna publish this and a sequel. Great. So I did that and then I went back to the same editor and I said, “I wanna write something else from these Ree Reyes books. And so I created pitches and I sold them. I sold those books without having written the whole book, which is one version of—   K: You’re selling based on the pitch that you’re giving.   M: Yeah, and that’s one degree of selling on spec. There are people who say, “Cool! I wanna write a book!” and the publisher’s like, “We love you! Please sell us this book!” That is really selling a book on spec, you know. And that’ll show up in Publisher’s Weekly or Locus as: Famous Author’s Next Book to Editor at Publisher. And it can be very vague. It takes a while for most authors to get to the point where they can just say, “I wanna write a book for you!” and the publisher says, “Yes! Here’s some money.”   K: Most authors will not get to a point where that happens in their career. And there is absolutely nothing wrong with that. It’s just that, typically—and correct me if I’m wrong—these are going to be household names either within the general populous or within genres.   M: Yeah.   K: You will know the people that are able to sell books on spec.   M: Yeah, or it’s like—I have friends who sell a book that’s already written, but it’s a standalone so they get a two book deal and the second book is: it’ll be a book.   K: Yes! Yeah.   M: That’s probably more common than, “Here’s a one book deal. I don’t know what the book is yet, but I have the track record that you just wanna buy it.” So I had tried to sell a couple of books on partials because I said, “Well, okay, I have this track record and I have this background in the professional side of publishing.” But those didn’t happen. So I just went back to writing new novels and trying to sell things and, at this point, I’d been wanting to do enough different things with my writing where it’s like, “Cool.I’ve got these adventure books and I wanna write some other stuff that’s a bit more sociological or political and try to balance all these things that I wanna do as a creator.”    But I don’t wanna spend five years for each book because, economically, it’s just not viable to be able to support the costs of a writing career in terms of conventions and things like that off of one book every five years unless I’m getting just a lot more money. And very few people get so much money from science fiction, fantasy that they can spend five years on a book. So Aria is this weird book that may be pretty singular in my career, in terms of how long it has taken to become the thing that will be published in, as of this recording, in a couple of months.    So I try to revel in that distinctiveness because it will probably be pretty singular and hope to apply the lessons that I’ve learned while writing it much more efficiently moving forward. To think about things with texture and depth from an earlier part, an earlier stage of the process and then to embrace the opportunity to make a book more rich and texture in the revision process. To try to do several years’ worth of work in maybe a year, year and a half, in strong collaboration with an agent or an editor or something like that.     R: So you’ve spent the last, you know, hand-crafting the tools themselves that you now can put in your toolbox and reach for, hopefully, and use them without having to remake them every time, going forward?   M: I sure hope so.   R: Well that would be a very efficient use of your time, I think.   M: Yeah. I just finished the rough draft for a new novel that is very different from Aria, but I think it would have been very hard for me to write it, if I had not already been through that process of pulling this book together over the course of several years while working on other things as my main deal.Like, developing and doing all the work for Born to the Blade and self-publishing stuff from Genrenauts and things like that. So I’m hoping that the messiness I can clean up a bit while still being able to reapply those tools, as you say.   K: Now, Mike, when you went back from this and I just know from our conversations and working together that, at various points, you spent a lot of time working on this. You picked it up, you put it down again. You came back and forth to it. Were there any points, when you were going through and revising this, that you knew there were changes you had to make that you weren’t happy about making? That you were reluctant to really do anything with?   R: Tell us how Kaelyn hurt you.   M: Um…   K, laughing: No, no we’re talking pre-editor.   R: Oh, okay. If you say so.   K: Well, what I’m trying to get at here is, and Rekka and I back in May, we will have released an episode about making hard decisions about your manuscript and changing things on recommendation, but then also doing it yourself and having that awareness of, “Hey, maybe this isn’t as strong as I want it to be,” or “Maybe this no longer serves this story.” And the reason I’m asking is because you did write this over such a long period of time, it gives you the time and perspective to go back and consider these things.   M: Yeah, so probably the biggest, hardest change was—In the first draft, the novel opens much later in the story compared to the novel as published. And, at that point, I was going for a kind of Indiana Jones and the Raiders of the Lost Ark-style opening because that’s another touchstone for this work, as well as something like the 1999 Brendan Fraser-Rachel Weisz The Mummy movies.   [31:09]   K: It’s funny because I remember when I got this manuscript and I was talking to our publisher, Colin, he said, “What do you think?” I said, “It’s The Mummy set in space with elements of Guardians of the Galaxy,” but mostly I said it’s The Mummy in space. If that doesn’t sell a book, I don’t know what will.   M: Yeah, and that Rick and Evy relationship, especially in the second Mummy movie was another big touchstone in terms of, like, they have their own things, they are committed to each other, they’re on adventures—   R: But they have their own styles. Yeah.   M: Yeah, but I have this opening for the book. And one, the first draft came out pretty short because often will draft short and a book will grow in revision because my earlier drafts tend to be a lot more, “Okay, cool. Action, action. World, World. Action, action, action.” And then I go back and unpack things. And, moving forward, I’m hoping that my first drafts will have a little bit more character and breadth and space in them and that in revision I’ll just build on that, as opposed to having to do quite so much work to unpack it.   So there’s—In several different cultures across the world, there’s a mythology that the Universe started as two lovers embraced and that that’s the whole of physical space and that then something or some people push them apart to create the gap between the Earth and the sky. And so I’m trying to make it so that my novels are not that process so much, and that they start out with a bit more room to breathe, so that both the characters can breathe and that the reader can have the space to feel all those emotions as powerfully because they’ve taken the time to ruminate on them, versus just, “Here’s a flashy scene! And here’s some people! And they have distinctive characteristics and now they’re gonna be action figures through a space!”   I want to do more and dwell more with those characters. And part of that’s inspired by reading a lot more romance novels. Where, in romance, the best writers will do a great job of unpacking emotional reactions. So, I have this one start of the novel and I knew that I needed to set things up better, and I wanted a kind of broader story, so that involved moving the clock back within this timeline which also then gave me the opportunity to ground the characters more in their home away from home, in this colony ship that turned city in space called The Wreck. So what if you took a colony ship with a dozen species and they all loaded up this big ship and they had all of their hopes and dreams and they set off and then something goes really wrong and it crashes into some asteroid somewhere. And they absolutely cannot get going again.    I really liked that setting, I just kind of played through it in the original draft. So, in the revision, I was able to say, “Okay, here are the things I like about this, and now I wanna do more with them.” And that was also when I was able to kind of graduate Wheel into more of an equal POV character, in the way that she is tied to this place. And that they, the three of them, Max, Lahra, and Wheel are caught up in this net of relationships and factions. So it was a lot of forcing myself to kind of put my money where my mouth was about: here are things I like in writing, here are things I like in storytelling. I’m gonna push myself to dig deeper, to put the world on display more, to put my characters under pressure along several different axes that then makes it more realistic within the narrative. That they make the choices that they’re making as the story unfolds, so that at any given moment, they’re stuck between some bad options and they try to make the best opportunity for themselves.   Whereas, previously, the reason why they went and did the things that they did, in the earlier drafts, were a little bit more because it’s what I wanted from them, and less because it was the only thing that made sense for who they were as characters and what their relationships were at the time. So it was a lot of raising the stakes, but not in a grimdark fashion. Stakes and the degree to which the characters were enmeshed in the world and were both affected by it and agents effecting it.    R: I want to call attention to what you said, though, about as you expand your draft, you are not adding density to all the spots that you’re expanding, just for the sake of making it longer. But that you actually are going to this with such intent that you are actually creating space, not creating more. You didn’t double the action and then double the tension. You created a space that gave all the characters more room to become alive. So I just thought I’d draw attention to that because so often we talk about, “Oh, yes, in revision my book doubles in length,” but we don’t often say what that content is.   K: Well you can double in length and more than double in substance.    R: Oh yeah, yeah.   K: I think that’s a trap a lot of writers fall into where: I just need to add and add and add, and then at some point someone is gonna tell me, “Yes, you have enough here.” And it’s less about it being enough and more about it being efficient and effective.    M: Right, yeah, because there’s nothing about Storytelling that says, “Ah, sorry, this is only 70,000 words, it’s not a story yet.”   K: Yeah, and if somebody’s telling you that, don’t listen to that person. That’s not—   M: Yeah, and it’s—We’re in a position now, in the industry, where you can publish shorter work and there’s still a chance to find an audience. And any given publisher has their own model that they’re operating within. If you’re selling paper books, there’s kind of a minimum word count that will give you a spine that you can put text on. Those physical realities inform book publishing to a certain degree, but I was already playing within the novel space that was like, “Oh, well if I do more and I’m thoughtful—” It’s not that the book is 30 percent better because it’s 30 percent longer, that’s not the equation that we’re talking about.    There is more space for the character relationships, for those relationships to inform the action, for there to be an arc of how these people relate to each other and the ways that they are or are not invested in different things. So that, then, when I’m doing the big space opera finale, the reader feels like they’ve gone through the flow and the rise and fall of these characters, that the decisions they make there are both believable and kind of a natural catharsis for what the characters have gone through before. So that you get the reader, like, punch-the-fist-in-the-air experience when the character does the big thing.   R: So it’s not just about getting to 100,000 words and stopping.   M: Yeah.   R: Yeah.   K: I will say that, at Parvus, we have, for submissions, a 60,000 word minimum, but that’s because we publish novels and, sure, you can make an argument for some novels that are a little bit below there, but, as Mike said, there’s a certain point where you say, “I need this many words in order for this to be a book that I can have a spine and put the title on.” That said, there’s no reason to restrict yourself to a word count. If you have a great story and it’s 40,000 words, there are places that are looking for great stories that are 40,000 words.   R: Yeah. The only question is what category of the awards do you have your dreams set on, you know? But yeah, tell the story at the length that the story wants to be told. And if you want to explore more ideas, then the story gets a little longer. So, Mike, while you were expanding the story, how much of the relationship between Max and Lahra changed? I mean, you already said that you wanted them to have an established, committed relationship, but how fraught with tension did you want that to be? Like you said one of your inspirations was Guardians of the Galaxy, but Max is as far from Peter Quill as you can get, so what’s—how did that develop?   M: Yeah, I think Max as a character much more emerged from—the idea that I had was, what if you had the couple from The Mummy but you flipped the genders?   R: Mhm.   K: Yup.   M: So you have the fighty, square-jawed character is the wife and the, kind of, not-so-useful in a fight, academic who’s not as used to jumping around in the world, is the husband. And that’s really where it starts because they diverge pretty far from just those two because I wanted to figure out how to have the fish-out-of-water character work. Like, Max is from Earth and this is Very Far from Earth.    [K laughs] And drawing on that tradition of John Carter or of Farscape. There was a lot. It’s portal fantasy, but science fiction. Ultimately.   R: Yeah.   [41:05]   M: And how much it is portal fantasy can depend on how much being from Earth matters. The amount that being from Earth mattered, for Max, kind of increased over time, especially as I was really doubling-down on who Max was. Because Max is a Black guy from Baltimore so he grew up in a specific economic and political and cultural context, but then he’s the one who gets flung into a distant galaxy. Whereas racism doesn’t work the same way there and that’s not the main thing because that’s not my story to tell, as a white writer, but I was committed to respecting who Max is, as a person, and so I was able to build some things around him.    So what that became is that Max was already used to code switching between different cultural registers, and then here we have this multicultural civilization that is multicultural and multispecies and that, as an archaeologist and linguist, that was his superpower is being able to pick up language and study and understand culture. So, already, he’s really far from Peter Quill, who’s much more like a John Carter type of character, who is almost more in the Western tradition.   R: He just shoulders his way through every situation.   K: I was gonna say like a bull in a china shop. Just, you know, dropped in and is going to behave and do the same thing no matter where they are and who’s around them.   R: Yeah, definitely no code switching from Peter Quill.    M: Yeah, and then in thinking about who each Max and Lahra were, I had to be smarter and more thorough about who the other were because I needed to have a sense of how they interacted with each other. Like, what does Lahra do when Max is at his workstation for hours and hours and hours poring through manuscripts and trying to translate things? Like, does she just leave him to do his own thing? Does she hang out with him? What would make sense? Because she’s a bodyguard, she grew up in this cultural paradigm from her mother that was very much about a dyadic relationship, but between charge and guardian. Well, how does that inform who she is as a partner in a relationship? She’s more likely to be the kind of partner who would hang out with you while you’re doing your thing to make it clear to you that she’s supporting what you’re doing, but she’s not like—   R: Invading it.   M: She’s not invading it, she’s not making it a thing that has to be about both of them. Okay, well, then how does Max react when Lahra is really upset about something? He’s more likely to be the person who wants to talk it out, but they’ve been together for long enough that he realizes that some of the things that he wants to do are not actually what Lahra needs, as a person. Because I’m writing this relationship between people who are adults and they’ve lived enough life and they’ve spent enough time with each other that they’ve come to understand one another’s rhythms. Writing that part of the relationship was really rewarding because I got to show the way that I can write in Max’s POV and characterize Lahra, while characterizing Max. Because then I can write in Lahra’s POV about Max, through her own POV and the places where how they see each other don’t exactly line up.    Then tell the reader that these are both unreliable narratives because this is tight third person, which has enough overlap with first person that you’re gonna get some of that unreliability. And you understand more of what that relationship needs by getting both of the two, each of their buy-in. In terms of where they see themselves, where they see their partner, where they have doubts and fears, and how that manifests in the way that they act and how it does and doesn’t manifest in how the other person sees them.   Because I don’t write the same scene from both POVs, but I do frequently write the sequel to a scene in the other partner’s POV. So that they’re reacting to the same stuff.   K: But, beyond even just Max and Lahra, then, we have Wheel. Who is, I won’t call her a third-party observer because that’s not the case, but is an outside perspective on a relationship and, inm any cases, the only outside perspective on a relationship.   M: Yeah, and she doesn’t have access to their interiority. Every relationship is different on the inside, even if you’re living with somebody else. You know, because maybe you overhear conversations, but you’re not having that same emotional experience. And so that was a little bit more of a place where I got to comment on the relationship from the outside, but also think about times where I have been the third wheel friend to a couple when they’re going through something. And Wheel is also very fun to write because she has a firmly developed self-image that is, to a certain degree, a protection against the way that things are. So she’s more of the curmudgeon character who makes a show of keeping people at arm’s length, but she could have kicked them out of the ship years ago and be doing something else. But she didn’t. Why is that? And she’s tied into other factions in the story and that tie also came later, because Wheel started out as more just, like, the Driver will get you from A to B.   Then it’s like, how does this technology work? Well, we’ve got these cyborgs and if they used to be an empire, why aren’t they in charge? Well, how are they still around? If you get overthrown, the people who overthrow you are going to try to keep you out of power as much as possible.   K, punny: Annihilate you, if you will.   [R giggles]   M: Yeah, so all of those worldbuilding questions, then, informed who the Atlan, Wheel’s people, who those people were. The cybernetics gives them the ability to engage with the warp drives, which is a little bit like how the Spice works in Dune, it’s a little bit like this, it’s a little bit like that. And that every time I went back into Wheel to either talk about how she’s seeing something else, or her position in this setting, engaging with factions on the Wreck or her own history as an even older, mature adult who’s been places and had relationships, every time I tried to fold in or think about some other topic, she grew more rounded as a person. That gave her even more different ways of engaging with Max and Lahra as characters.   K: Was there any evolution to Max and Lahra’s relationship? Did anything change as the story grew? Or did you always see them as two characters who love each other and are very happily married, but also have separate lives and separate goals that they’re working towards, and they’re going to help each other do this no matter what, but the more they help each other, the more they’re driving themselves apart?   M: I think the only time when I really had doubts about Max and Lahra was while I was writing the first draft because I had this premise and, following the fiction, I wanted to honor it enough to let there be the opportunity for maybe things to go bad for them. I, as a creator, had a specific type of outcome that I was shooting for, but I didn’t want to put my thumb on the scale so hard that I’m like, “Oh well! It doesn’t matter that these things happened, actually it’s gonna be Happily Ever After no matter what. Haha, I win.” Because that wouldn’t be, it wouldn’t be as strong of a work. It would feel like there was a cop-out.    So, because I had an outcome in mind, it was more about what in the world has to be different from where things were, maybe, at the middle of my first draft so that it made sense. That the choices that they made led them to where they were at the end of the book. Probably the biggest changes there happened when the group goes to someplace that’s really important to Lahra and her heritage. I’ll stay vague for readers so that they go and buy the book and read it! Because it’s great!   K: It’s a fantastic book. Everyone should go buy it and read it.   M: And then, basically, since I believe very firmly that people are informed by their circumstances, but not always 100 percent limited by them—there’s places where agency is limited in society and so on—   K: Mhm, yep.   M: But that, because people are informed by their circumstances, if I want a different character output, I can change the circumstances to put different pressures on them and to give them different experiences that let them reflect differently on what they feel about things. So it was kind of a feedback loop between who these characters are as I’m expressing it in the writing, trying to respect who they are as people, as I understand them, and then also applying different pressures and adjusting the pressures on them so that the story stays within the trajectory that I’m thinking. Because probably the first core of the story was them and their relationship, and other things kind of grew around that. And then the thematics emerged from how they, as characters, reacted with one another and then, looking backward, how all those things operate. So that any thematic clarity that a reader gets from Aria is not something that was on page one of my notes.   [51:07]    M: It’s because the process of creating it as the book people will read was development rehearsal practice, re-rehearsal, changing the arrangement, practicing again, changing the blocking. I’m using music metaphors here because I’ve done music and theater. Not only is the story entertaining, but it’s also, as much as possible, saying the things that I would like to say, or inviting the reader to reflect on the same themes and ideas that were what I was hoping for them to do. Because, and this is something I’ve talked about with Kaelyn pretty early on in the process was, this could have been several different books.   K: It’s, and it’s something—I always joke that when I’m reading through books I can tell what sections of it were written at the same time. Authors, you guys aren’t always as slick as you think you are. You leave fingerprints on a lot of things. That was something coming into this, that I could tell what chunks of this book had kind of been written at the start, what parts had been revised very heavily, but we spent a lot of time in the beginning talking about the thematic elements of this. But also, as you said, this book could have gone a lot of different directions. I think it went, I will go so far as to say, the correct direction. The, one of the best possible directions it could have gone.    But I can see that in reading this, especially reading some of the earlier drafts that I got. There were a lot of different things that could have happened in this story and happened to these characters. I think that speaks very highly of your worldbuilding and your ability to create and develop believable characters, is that I can see them dropped into different scenarios and just acting on their own accord. They’re an object in motion at that point, rather than something that you’re directing to do certain things. And that’s amazing. That’s a fantastic thing to be able to do as a writer.    M: Yeah, another way of thinking about it—and this is definitely informed by a video I was watching recently, a conversation between a couple of game designers—is that some of it is just down to tone.   K: Yes.   M: Two musicians can take the same song and go—one musician says, “Okay, cool, I’m going for the same tone but I’m gonna move the key.” Just moving the key actually changes more than you expect. It’s the moody, emo down-tempo version of a pop song?   R: Yup.   K: I was just gonna say, actually, I just discovered a cover of “Smells Like Teen Spirit” by Tori Amos which is—actually I discovered it because it was on one of Rekka’s playlists that she sent me and it’s fantastic. But it completely changes what you would maybe think the underlying context of the song would be. So yeah, I think, as I said when we started all of this, I would read anything that you set in this world. Especially if the characters are as engaging and compelling and dynamic as the ones that you’ve created for Aria because I see them as their own people rather than chess pieces being moved around on a board. They’re there to carry out actions that it doesn’t always feel like you, the author, are dictating to them. They’ve taken on a will of their own at this point.    M: And that is for the best because if they’re—on a list of writing traps that I know I can fall into, having something that feels a little bit more like action figures and choreography is definitely on that list. And so I have to respect the characters and go back and make sure that all of the circumstances and the worldbuilding acoustics, maybe?—to extend the music metaphor—that those line up so that things end up the way that I would like them to be.   K: So, along those lines, and we’re getting to the end here to start wrapping up, we like to ask our guests for advice or introspective or something you wish you could go back and tell Mike five years ago, when he was starting this whole process.        M: I’ve been working as a writer, now, long enough that 5 years ago is not the start of my career. Because it used to be, people would ask me, “What would you tell a younger self?” and it used to be about revision and what I learned about revision from the late, great Graham Joyce and Clarion West. But that was a lesson I learned 13 years ago now. So I think the lesson for 5 years ago Mike would be: start reading romance, you’re gonna really like it and it’s gonna teach you a lot about character relationships and getting drama and emotional investment for the reader out of just the very core relationships between people.    In a romance, people are also emergent from their circumstances and there’s lots of things you can do there, but that emotional action flywheel of Person A does a thing, you’re in Person B’s POV, so Person B first has a visceral, embodied reaction to what, to the emotionally-charged thing that was said, and then we’re in their perspective and their mind is racing and reflecting on something and, maybe, they’re going through an emotional journey about what’s going on. Maybe it makes them think about something, but not so long that you can’t then go back into scene and write about what they’re doing in reaction so that you’re able to kind of create this cycle of action and reaction, where it’s not just talking heads but we’re also getting all of this beat-by-beat dramatization of the emotional arc, the emotional rollercoaster of your POV character along the way.   And that approach was a lot of what I had to bring to Aria in successive drafts, especially as Kaelyn kept on poking me and saying like, “No! Unpack this more! Slow down!” Either to give the emotional rollercoaster or to paint with a finer brush the world around the characters. And that that process and that urging to slow down and unpack has been really great, it’s been fun to do. So it’s not like I’m being told I have to eat my vegetables, it’s—give yourself the situation and the platform on which you can then do these things that you really like doing, and you’re gonna be happier with the results.   K: I think, in my experience dealing with authors, there’s what I’ll call an overcorrection that writers tend to incorporate into their work, which is: I don’t wanna be the long-winded person here. I don’t wanna be the one that spends a paragraph describing the exact emotion that this character is feeling for 150 words. And there is certainly something to be said for being aware of that, but at the same time, I conversely always point out: you know how they’re feeling, you know what they’re thinking. You need to make sure that’s coming across to the reader. The reader doesn’t get access to your brain for this, they get access to the pieces of it that you’re putting in this book.   So, yeah. And part of it was very selfish. Part of this was: Well, hang on, I wanna know what’s going on here! Mike! Tell me! So it’s a—I really liked learning more about these characters as the book developed and I think you did an outstanding job.   M: That’s a very kind sentiment and I’m very grateful that you had that experience. Because that makes me feel very good as a writer.   R: What I also love about it is that you have put in all this work for character-building and worldbuilding, but the book reads as fast as any omnomnommable sci-fi book out there. It does not get burdened with—as much work as you put into it, it doesn’t show. You have seamless story going on. Even though Kaelyn can tell which spots you rewrote, no one who picks up this book—   K: I’ll never tell!   R: That’s Kaelyn’s superpower, that’s not indicative of what you’re going to feel as you read it. But it’s very fast-paced and, as you said, you worked very hard on the tension and it shows. It pulls the reader straight from the beginning to the end and it definitely leaves you wanting more, so I hope that the space opera series is going to continue for quite some time because whether it’s Max and Lahra and Wheel or, you know, Kruji getting their own book. I’d read them all.   K: Kruji absolutely needs their own book. The entire story of Annihilation Aria from the perspective of Kruji.   M: Well, I’ll write some books. And then twelve years after the series ends, I’ll come back and do the Kruji book. Because I’ve started a number of different series and the heartbreaking thing about publishing is it’s—   K, laughing: There’s only one!   M: It’s hard to justify writing something when I don’t see a market for it.   K: Yeah.   M: And so there are things that I would love to go back to, but right now the economic reality says, “Why would you do that? That’s a terrible idea!” So what I’m hoping for, with any given new series, is I hope that this finds enough of an audience that there is the demand to create the economic circumstances that will let me pursue that interest more. Because only now in the novel I just wrote, have I written something that I think actually could stay a stand alone. Everything else, I’m writing a world that I think I could do a lot more things in. I could do more things in this just finished novel’s world, but I want that novel to be able to stand on its own.   For the space operas, I would love to write more, and I will write more if the circumstances permit.   K: Yeah, it’s a very difficult thing for, not just writers but creators in general, to say: I am making this and it is a finite project that is done now.    R: Well you spend all that time living in that world!   K: Exactly, yeah.   R: And so you see all the corners where you’re like, “Oh! There’s someone down there. I gotta go follow that after I’m done with this.”   M: Yeah.   K: For instance, Kruji, who I feel like has a lot of very important stories to tell. Some perspectives and insights to offer the reader that is really going to enrich the story of the Kettle. So, uh, that’s—   M: Smart readers will be able to pick up some of the places where that could go in some chunks of the novel. And if you figure it out, email me on my website.   K: So, yes! Speaking of, Annihilation Aria is out a week from today! You still have time to pre-order the book and the audiobook, as well, is available for purchase. Mike, where can people find you online?   M: Sure, so my website is michaelrunderwood.com, that has kind of basic updates. I have a Patreon that you can find at Patreon.com/michaelrunderwood—    K: And it comes with a lot of pictures of a cute dog. Very cute dog. Highly recommend.   M: My dog, Oreo, is really the star of my Patreon and that’s fine. I know how the internet works.   [K laughs]   R, laughing: Yeah. Give the people what they want.   M: And if you’re listening to this, you like podcasts so I am an occasional guest-co-host on the Skiffy and Fanty show which is a general fannish podcast about books and movies and TV and so on. And I am a co-host on Speculate which is an actual play podcast starring science fiction-fantasy professionals. As of this recording, we’ve started a Blades in the Dark miniseries, I’m gonna start a Star Wars miniseries using the Scum and Villainy system and, sometime in the future, there may be some roleplaying in a world that listeners of this episode will now be familiar with. But more will come on that later on.   R: Hm.   K: That’s a nice teaser there. Okay. Well, Mike, thanks so much for talking to us. This was great! I mean, for as much as I’ve already gotten to hear about this, I never get tired of talking about this book and the characters and the process to get it to where it was.   M: Yeah, thank you very much. Because it’s written over such a long time, I am still processing all of the lessons and things. Like, “Oh! That really did take this thing!” or “This is where that actually comes from!” So that process, just by itself, is really rewarding for me and it’s fun to get to—to participate in this show that I have enjoyed as a listener.   R: Well thank you for that.   K: Thank you! Alright, well thanks again, Mike, and everyone for listening. We’ll talk to you in two weeks!   [outro music plays]   R: Thanks everyone for joining us for another episode of We Make Books. If you have any questions that you want answered in future episodes, or just have questions in general, remember you can find us on Twitter @wmbcast, same for Instagram. Or wmbcast.com!   If you find value in the content that we provide, we would really appreciate your support at Patreon.com/wmbcast. If you can’t provide financial support, we totally understand. And what you could really do to help us is spread the word about this podcast. You can do that by sharing a particular episode with a friend who can find it useful or if you leave a rating and review at iTunes, it will feed that algorithm and help other people find out podcast, too. Of course, you can always retweet our episodes on Twitter.   Thank you so much for listening and we will talk to you soon!      

Today we sat down with Hugo-award winning author David D. Levine to talk about how he got started in writing from short stories up to his latest novels. Grab a coffee and come learn his path to being a novelist, from engineering to fiction. … Continue...Episode 46 – David Levine

The Stories We Tell Ourselves by Curtis C. Chen. Narrated by J.S. Arquin. Featuring an afterword recorded by Curtis C. Chen. #fantasy #flashfiction #wishes Gerald sat and stirred his coffee, waiting to change the world. The front door of the cafe swung open, and the bell jingled. The balding man who walked in wore a thick overcoat, scarf, and gloves. His nervous, desperate eyes scanned the room. Once a Silicon Valley software engineer, Curtis C. Chen now writes speculative fiction and runs puzzle games near Portland, Oregon. His debut novel Waypoint Kangaroo (a 2017 Locus Awards Finalist and Endeavour Award Finalist) is a science fiction thriller about a superpowered spy facing his toughest mission yet: vacation. The sequel, Kangaroo Too, lands our hero on the Moon to confront long-buried secrets. Curtis' short stories have appeared in Playboy Magazine, Daily Science Fiction, Mission: Tomorrow, and Oregon Reads Aloud. He is a graduate of the Clarion West and Viable Paradise writers' workshops. Find him online at: https://curtiscchen.com/ Twitter: https://twitter.com/CurtisCChen https://www.instagram.com/curtiscchen/ http://www.facebook.com/CurtisCChen   Please help support The Overcast. Become a Patron Today! Subscribe on iTunes or Stitcher so you never miss an episode. While you're there, don't forget to leave a review! ASCENT, Book One of J.S. Arquin's Crimson Dust Cycle has launched! Go to www.arquinworlds.com to download your free prequel story. Are you an author who loves J.S. Arquin's narrations? Ask him to narrate your audiobook at www.arquinaudiobooks.com    

"A Time for Heroes" by Edward M. LernerProbably published in AnalogAuthor EDWARD M. LERNER worked in high tech and aerospace for thirtyyears, as everything from engineer to senior vice president, for much of that time writing science fiction as his hobby. Since 2004 he has written full-time.His novels range from near-future technothrillers, like Small Miracles andEnergized, to traditional SF, like Dark Secret and his InterstellarNet series, to (collaborating with Larry Niven) the space-opera epic Fleet of Worlds series of Ringworld companion novels. Lerner’s 2015 novel, InterstellarNet: Enigma, won the inaugural Canopus Award “honoring excellence in interstellar writing.” His fiction has also been nominated for Locus, Prometheus, and Hugo awards. Lerner’s short fiction has appeared in anthologies, collections, and many of the usual SF magazines. He also writes about science and technology, notably including a long-running series of essays for Analog about science and SF tropes, updated and expanded into Trope-ing the Light Fantastic: The Science Behind the Fiction. His website is www.edwardmlerner.comNarrated by: Curtis C. ChenOnce a Silicon Valley software engineer, Curtis C. Chen (陳致宇) now writes speculative fiction and runs puzzle games near Portland, Oregon. His debut novel Waypoint Kangaroo (a 2017 Locus Awards Finalist) is a science fiction spy thriller about a superpowered secret agent facing his toughest mission yet: vacation. Curtis' short stories have appeared in Playboy Magazine, Daily Science Fiction, and Oregon Reads Aloud. He is a graduate of the Clarion West and Viable Paradise writers' workshops. You can find Curtis at Puzzled Pint on the second Tuesday of most every month. Visit him online: https://curtiscchen.com See acast.com/privacy for privacy and opt-out information.

Main Fiction: "Uncontrolled Descent"This story is original to StarShipSofa.Adam Shannon's fiction has appeared in Apex, Compelling Science Fiction, and other magazines and anthologies. His story “On the Day You Spend Forever With Your Dog” appears on Locus Magazine’s Recommended Reading List for 2018 and is a finalist for the 2019 Sturgeon Award. He is a graduate of Clarion West 2017. Narrated by Heather ThomasHeather slings jewelry by day but is an aspiring voice actor by night. Heather's other narrations can be found on other fine podcasts such as Creepy, The Wicked Library, The Lift, Tales to Terrify, and PseudoPod. She lives in Denver, Colorado with her husband and her two evil cats, Muffin and Banana. See acast.com/privacy for privacy and opt-out information.

Hey there word nerds! Today, I have the pleasure of interviewing Cadwell Turnbull. His novel, The Lesson is a work of speculative fiction is about what happens when a spaceship arrives at the US Virgin Islands with a race of super-advanced aliens on a research mission on board. This story grapples with the tensions between these newcomers and the local Virgin Islanders and explores various themes, including: the nature of belief, the impact of colonialism, and how far are we willing to go for progress? This book breaks new ground as one of the first science fiction novels to be set on Saint Thomas, in the Virgin Islands. It’s a combination of literary social fiction and speculative fiction, and it also paints a vivid picture of Charlotte Amalie, which is Cadwell’s hometown. Cadwell has an MFA in fiction from North Carolina State University, as well as Master’s degree in Linguistics. He was the winner of the 2014 NCSU Prize for Short Fiction and attended Clarion West 2016. His short fiction has appeared in The Verge, Lightspeed, Nightmare, and Asimov’s Science Fiction and several of his stories have received honors or been nominated for Best-Of lists. I have been reading his debut novel, The Lesson, and it is absolutely un-put-downable.  In this episode Cadwell and I discuss: How a dream inspired The Lesson Keeping a story character-driven while also adding speculative elements The power of using--and sometimes withholding--multiple points of view  Using speculative fiction to grapple with contemporary social issues Blending past, present and a speculative future Writing speculative fiction in an MFA program Plus, his #1 tip for writers. For more info and shownotes: diymfa.com/269

The last leg of our Worldcon roadtrip special! Interviews from Alasdair Stuart, a discussion on Clarion West experience with Ted Mahsun, Nicole Givens Kurtz, and a LOT of discussions about the Hugos!

Black & A Half returns with Silas & A Special Guest co-host, comedian and actor, Samantha Rund. They both sit down and talk with Seattle Filmmaker Yang-Yang Wang. They talk about Yang-Yang's journey into filmmaking, and the craziest foods he's eaten. About Our Guest Yang-Yang Wang is an award-winning director, writer, and actor who helps run the literary non-profit Clarion West. A lover of brevity, he currently resides in the Seattle area.

Episode Notes This story first appeared in Asimov's Science Fiction in 2018.Since this interview was recorded, Cadwell's debut novel The Lesson was released.About the author: Cadwell Turnbull is a graduate from the North Carolina State University’s Creative Writing MFA in Fiction and English MA in Linguistics. He was the winner of the 2014 NCSU Prize for Short Fiction and attended Clarion West 2016. His short fiction has appeared in The Verge, Lightspeed, Nightmare, and Asimov’s Science Fiction. His Asimov’s short story “When the Rains Come Back” made Barnes and Noble’s Sci-Fi & Fantasy’s Short Fiction Roundup in April 2018. His Nightmare story “Loneliness is in Your Blood” was selected for The Best American Science Fiction and Fantasy 2018. His Asimov’s novelette “Other Worlds and This One” was also selected by the anthology as a notable story. The Lesson is his debut novel.About the host: Margaret Killjoy is a transfeminine author and editor currently based in the Appalachian mountains. Her most recent book is an anarchist demon hunters novella called The Barrow Will Send What it May, published by Tor.com. She spends her time crafting and complaining about authoritarian power structures and she blogs at birdsbeforethestorm.net.This podcast was made possible by the generous supporters of Margaret's Patreon. In particular, thanks go out to Chris, Nora, Hoss the Dog, Kirk, Argawarga Press, Natalie, and Sam.

This week Jonathan and Gary are back, fitting another episode in between travel, work, and family commitments. Gary opens up with a thoroughly reasonable discussion about writers from the 1990s and 2000s who may have published major works but have fallen from sight in recent years, while Jonathan attempts to get Gary interested in a new segment. Along the way there's discussion of the history of anthologies and whether genre fiction is more likely to be the home of theme anthologies, a new Gwyneth Jones book on the work of Joanna Russ, the state of various Library of America projects, and more. All in all, a typical ramble. In coming weeks Gary will be in Seattle for the 2019 Locus Awards weekend, Jonathan will be in Seattle for Clarion West, and both of them will be in Dublin for WorldCon 2019. Hopefully more podcast episodes will be recorded before then.  

Tor.com blogger and writer, Theresa Delucci, joins Rajan and Devin to talk about Game of Thrones, Red Dead Redemption 2, The Haunting of Hill House, and more.  Theresa DeLucci is a regular contributor for Tor.com, and has also gotten excited about pop culture for BoingBoing, Den of Geek, and Wired’s Geeks Guide to the Galaxy. A Clarion West alum, her most recent short story “Cavity” is forthcoming from Strange Horizons. Send her a raven via Twitter @tdelucci

"On the Day You Spend Forever With Your Dog," by Adam R. Shannon -- published in Apex Magazine, issue 115, December 2018. Read it here: http://www.apex-magazine.com. Adam R. Shannon is a career firefighter and paramedic, as well as a fiction writer, aspiring cook, and steadfast companion of dogs. He and his wife live in Virginia, where they preside over the furry whirlwinds of two resident canines as well as visiting foster dogs. His work has appeared in Compelling Science Fiction, Every Day Fiction, the anthology Behind the Mask, and elsewhere. He’s a graduate of Clarion West 2017. This Apex Magazine podcast was produced by KT Bryski. Music in this podcast includes "Rumination," "Wounded," "Loss," "Pensif," and "Dark Walk," all by Kevin MacLeod and licensed under the Creative Commons Attribution license. For more information, visit him at www.incompetech.com. Other sounds in this podcast provided by the Free Sound Project. Find out more at www.freesound.org Our narrator for this episode is Erica Hastings. Erica works as a Review Analyst by day, an action/comedy writer by night, and a voice actor on weekends and holidays. For the last ten years, she has lived in Ottawa, Ontario, where she also runs a free brainstorming and story critique session at the Ottawa Writer’s Circle. Her biggest project is her serial novel that she publishes to https://theotherkindofroommate.com/ in which there is also longing for a loved one, but that loved one is coffee. Apex Magazine podcast, copyright Apex Publications. Apex Magazine is a monthly short fiction zine focused on dark science fiction, fantasy, and horror. Find us at http://www.apex-magazine.com.

Wallflowers: An upscale shop has usurped what used to be NYC's infamous Limelight nightclub. Now the ghosts of the nightclub, looking for the artistic vitality that once was, take their vengeance on a salesgirl to whom the current dictates of fashion and beauty are everything. The Author: Lilah Wild is a graduate of Clarion West and her dark fiction has appeared in venues such as Pseudopod, Dark Tales from Elder Regions: New York, Niteblade, and Morbid Curiosity. Her fascinations include belly-dance dabbling, eerie synths, horror movie interior decorating, and running away to the beach. She lives in Queens amid a clamor of doom metal noodling and two cats. Visit http://www.leopardmoon.com for more info. The Actor: Jennifer Carter is an actor from Va, Ca, and Fl living and working in NYC. When not lending her voice to speculative storyscapes she can be seen on stage with many NYC theatre companies. Most recently as Dogberry in an industry reading of Turn To Flesh's new work THE MERRY WIDOWS OF WINDSOR. She also loves fighting; stage combat, that is, and this past winter fight directed Queen's Shakespeare and What Dream's May Co.'s productions of HENRY VI parts 1-3. She also enjoys pina coladas and getting caught in the rain. Follow her on Instagram @femme_du_lac_ and her website, www.jenncarter.weebly.com. -------------- The Story: You don't understand, I loved her like nobody else in this world or the next. And she loved me. If she's missing, it's because Mr. Grooch has taken her. The Author & Actor: J.M. Plumbley writes fantasy, horror, and a blog about monsters. She's a graduate of the Odyssey Writers Workshop and has lived in several states and countries, but currently resides in Queens. Visit jmplumbley.com for more.

A re-release of episode 335. This should be 53 minutes long. --------------------------------------------   Worldcon 76 in San Jose, California this past August was a busy time. Thousands of science fiction and fantasy writers, readers, artists, publishers, and fans of every stripe travelled across the country and, in some cases, around the world to celebrate the best in SF. We had a fine time while we were there and managed to record four special episodes. This second one sees us sit down with award-winning writers and long-time friends of Coode Street, Karen Joy Fowler and James Patrick Kelly, to discuss Clarion, Clarion West, and what it was like to be a student and an instructor at one of the most important writing workshops in the SF/F field. As always, our thanks to Karen and Jim, and we hope you enjoy the episode!

Worldcon 76 in San Jose, California this past August was a busy time. Thousands of science fiction and fantasy writers, readers, artists, publishers, and fans of every stripe travelled across the country and, in some cases, around the world to celebrate the best in SF. We had a fine time while we were there and managed to record four special episodes. This second one sees us sit down with award-winning writers and long-time friends of Coode Street, Karen Joy Fowler and James Patrick Kelly, to discuss Clarion, Clarion West, and what it was like to be a student and an instructor at one of the most important writing workshops in the SF/F field. As always, our thanks to Karen and Jim, and we hope you enjoy the episode!

Collectors by Jae Steinbacher.  Narrated by J.S. Arquin.  Featuring an afterword recorded by Jae Steinbacher.  #SciFi #Fiction #Clones #Art #Relationships #Podcast  "The clone looks at me and then away, closes his eyes.  The same angular features and pouty lips as Miguel, but none of Miguel's crows feet or forehead lines.  Miguel lowers his head to the clone's neck and thrusts one more time, the expression on his face familiar, but not for me." Jae Seinbacher is a queer, nonbinary writer and editor residing in Raleigh, North Carolina, where she completed an MFA in fiction at North Carolina State University.  She attended Clarion West in 2014 and now serves as its Workshop Administrator.  Jae is a 2017-18 NC Arts Council fellow in literature.  Her work appears in Terraform, Escape Pod, and Podcastle.  "Chimeras" was a Notable Story for The Best American Science Fiction and Fantasy 2016.  Visit her online jaesteinbacher.com at or on Twitter @jaesteinbacher.     Please help support The Overcast.  Become a Patron today! Subscribe on iTunes or Stitcher so you never miss an episode.  While you're there, please take a moment to leave us a review!    

It' that time of year again, Clarion West is back in swing and the students are running through the six-week gauntlet that forges them into the great sci-fi fantasy writers of tomorrow! In this episode TJ and I welcome Shiv and Elizabeth, two of her classmates from CW 2016's class, aka "Team Arsenic"

  Episode 55 is part of the Autumn 2017/Winter 2018 issue! "The Huntsman's Sequence" is a GlitterShip original. Support GlitterShip by picking up your copy here: http://www.glittership.com/buy/     The Huntsman's Sequence by Octavia Cade   01011011101111.... m-configuration: Knife The war is blank. Not in its individual parts, but as a whole. It covers everything, smothers everything. It blows continents open with opportunity. Much of that opportunity is for death, for carcasses hung up and split open in massive consumption, a grind of bone and blood, but for some the opportunity is a tool for all that. Something to insert into the space between ribs, to lever open and dissect. Not everyone dies in war. Not everyone sinks into blank nothingness, into unmarked graves and mass burials, into fields turned red and mud that stinks of iron. Some fight with symbols instead of flesh, their weapons heady and hidden, and it is in combination and in permutation that Turing finds his battleground.   [Full transcript after the cut.]   Hello! Welcome to GlitterShip episode 55 for May 5, 2018. This is your host Keffy and I'm super excited to be sharing this story with you today. Before we get started, I want to let you know that GlitterShip is now part of the Audible afflilate program. What this means is that just by listening to GlitterShip, you are eligible to get a free audio book and 30 day trial at Audible to check out the service. If you're looking for a great book with queer characters, I recommend checking out Amatka by Karin Tidbeck. Amatka is set on a colony world in which objects can only maintain their shape if they are properly named. While visiting a colony not her own, Vanja discovers truths that alter the way she thinks about the world forever. To download a free audiobook today, go to http://www.audibletrial.com/GlitterShip and choose an excellent book to listen to, whether that's Amatka or something else entirely.   On to the episode, we have one original story and a poem for you today. The poem is "Telegram From Tomorrow's Lovelorn" by Shannon Lippert. Shannon Lippert is a reluctant New Yorker, a former professional Internet surfer, and a performing artist. She writes plays, essays, poems, short fiction, long fiction, bad fiction, and fanfiction.     Telegram From Tomorrow's Lovelorn By Shannon Lippert   oh how good it is to be alive in a time without miscommunication, we have so many tools for reconciliation, we are inclined to be happy with our upward trajectory—the next tool to be improved upon is love we have experimented with procedures and policies that calculate for irregulars and deviations in nature, and designed a program suitable for all kinds, in the future we will not worry about a thing the remarkable innovation of the essential human experience is made possible by contributions made by companies you’ve never heard of with wealth you’ve never dreamed of, for the creation of lovers to be no more the messy business of hiring a writer for your profile or interviewing for the position of life-partner you will be intuited, distilled, contained STOP in the future love will be sleeker an organic machine of orgasmic proportions conducted by an algorithm calibrated to destiny the beta version has been intriguing, and produced an object an artifact of more visceral traditions, tomorrow there will be no more incompatibility, no more irreconcilable differences, for all will be reconciled categorized, tagged, compartmentalized, converted to data this is virtually reality, with a few minor upgrades the bugs reported and removed, like the hair between one’s brows, or the men with low testosterone, the women who are too driven unnecessary inclinations will be resolved in the future, with equations installed in a binary system of zeroes and ones the problem is not one of variables, but imbalance, which drove the initiative towards simpler paradigms of passion STOP reducing the complexity has caused initial disturbances but overall the product has been well-received by focus groups, carefully selected, who long for a time when lonely is no longer something one has to be it is a wonder the species was able to replicate at all, with the mire of mundane relations and deeply confusing infatuations, and now our relief is in the last stage of development, to learn the art of loving STOP we will have models that are easy to duplicate, simple to impose on any group or subgroup, our assets determined not by unquantifiable inherent value, but by the concrete fact of what we need to be to other people, to those that assess us like the auditors of old, only for fate we can now be evaluated for attractive features more easily, leaving more time to construct our true love   Our original short story for this episode is "The Huntsman's Sequence" by Octavia Cade. Octavia Cade is a New Zealand writer with a PhD in science communication, who particularly enjoys writing stories about science history. She’s currently working on a collection of short fantasy stories set at Bletchley Park during WW2; “The Huntsman’s Sequence” is one of these. Her work has appeared in Strange Horizons, Clarkesworld, and Shimmer, amongst others. She attended Clarion West 2016. Our guest reader is Jacob Budenz. Jacob Budenz is a writer and multi-disciplinary performer whose work has been published by Assaracus, Hinchas de Poesia, Polychrome Ink, The Avenue, and more. Currently, Jacob resides in New Orleans in pursuit of an MFA in Creative Writing. Content warning for mention of suicide and dysphoria.   The Huntsman's Sequence by Octavia Cade   01011011101111....   m-configuration: Knife The war is blank. Not in its individual parts, but as a whole. It covers everything, smothers everything. It blows continents open with opportunity. Much of that opportunity is for death, for carcasses hung up and split open in massive consumption, a grind of bone and blood, but for some the opportunity is a tool for all that. Something to insert into the space between ribs, to lever open and dissect. Not everyone dies in war. Not everyone sinks into blank nothingness, into unmarked graves and mass burials, into fields turned red and mud that stinks of iron. Some fight with symbols instead of flesh, their weapons heady and hidden, and it is in combination and in permutation that Turing finds his battleground. He’s under no illusion that it keeps his hands clean. The information he extracts from the body of Enigma, the sweet little Snow White of his waking dreams, is used for murder as much as if he did the stabbing himself. He can live with that, because he has the skills and it is a necessary thing, what he has become. The war, when he holds it, is sharp and bright and clean-surfaced and he knows his role, knows what it makes him. For Turing the war is a knife that cuts him off from the old life; that sutures him into the new. He uses it to make little holes in his skin; to lace up the flesh again in new configurations, for the open theater of conflict comes with orders and betrayal. Academia was exploration, but what he does at Bletchley comes with focus, with tracking down and opening up. He cuts through code as if it was wild boar, slices out the heart of it, the liver and lungs, and offers the organs up to others. He is the Hunstman. new m-configuration: Huntsman   m-configuration: Huntsman The huntsman is 1. Turing is solid in himself, upright. Not simply in a physical way, though he is proud of his body. A runner’s body, swift and sure and when he runs of a morning, he is certain of his steps for he counts each one, catalogues the variation and speed and distance. There is little fat on him. He is smooth and straight and lean. This is the shape he admires in others. A man’s shape, like his own, and he is not ashamed of where his desires lead him. A huntsman is built for the chase. He has stamina, and strength. He has the determination to follow through mud and thorn thickets and shell holes, through bureaucracy and ill weather. He has patience, too, for there are times a huntsman has to stay downwind, to wait and wonder and make his best guess as to where the prey is hiding. The huntsman is an analyst. He is able to follow the bare pattern of footprints, covered over as they are by leaves and leavings to pick out the true trail amidst the false. There are many false trails. They’re left to confuse him, to put him off the scent. It’s hard to pick out one pattern among many when the letters are sneaking by, in such numbers that the ones he wants are camouflaged by the rest. It takes an analyst to butcher, too. The huntsman’s job isn’t over with the hunt: he must string up and dissect, pull out the organs for inspection and passing over. He must have the scent of blood. new m-configuration: Huntsman   m-configuration: Huntsman The huntsman is 0. The queen is the loveliest figure the huntsman has ever seen. He feels that he is nothing in her presence. Will you give me your allegiance? she says. She is built of abaci and cogwheels and calculation. She is built of logic and syllogism, axiom and tautology. Turing can see numbers in her hair and her dress is embroidered over with computation. He does not worship her as if she were a woman, for women he finds difficult. They are expectations he cannot fulfil. He worships the queen as if she were an ideal: mathematics come to life, and that life does not expect him to lie with her. He’d rather lie with men anyway. The queen knows and does not care. You are what you are, she says. Why deny it? She is all objectivity and questions. Am I not beautiful? she says, head cocked to one side with cool assessment. Could you make me more beautiful? It’s not as if truth needs decoration to shine. Still, Turing thinks he sees a path forward, and that path lies in mechanism, in the potential for engines and computing. He is the huntsman, and he knows the value of haste, of not letting a trail go cold. The queen chews equations slowly, with slide rules and logarithmic tables. He thinks he could make her work faster, more accurately. You are already the most beautiful, he says. But it’s not like you couldn’t stand a few improvements. His social skills have never been a strong point, but the queen is not insulted by accuracy. I will give you my allegiance, he says, as if she’d never had it already as he worked through his arithmetic exercises as a lad, as he studied logic and looked in mirrors and recognized himself for what he was. The queen is satisfied. new m-configuration: Queen   m-configuration: Queen The queen is 0. The queen is 1. She sees in black and white. A binary code, and even her mirror lacks color for color comes in degrees and all that the queen can see is certainty. The mirror shows her troop movements and casualty lists. They are in black and white for dead is “not alive” and alive is “not dead” and these are the switches she has. Injuries are the same. Her soldiers are “fixable” or “not”, where “fixable” means “able to be returned to the front”. There is an increasing proportion of “not”. The fronts too are binary things, for all they change on their many border. This town is ours, that ridge is theirs. She has no room to wish them shaded with pink or lavender or violet. Dreams are a distraction, and wishing for victory will not make it so. Better the queen looks the whole horrid situation in the face, clearly assesses her chances. Mirror mirror, she says, and it’s no surprise to hear that Enigma is prettier than she is. Younger, smoother, more efficient in her workings. No surprise there, they’re related enough for beauty to cross over, based as they both are in numbers and logic. It’s a family thing. Nothing the queen does can crack that lovely surface, and with every failure, with every not-success the casualty lists become larger, the fronts closer. She sees projections and possibilities, feels the mirror start to tremble with strain for it’s hard to show truth without color and that’s what the queen is: truth. How can she be truthful without certainty? The truth is that the war will be won or it will be lost. It is not a pleasant truth but the queen is unconcerned with pleasantry. She’s always preferred surety to manners. What are you certain of? she says to her reflection, and it’s less a question than a means of building up. A foundation for future plans. You are certain that you are pretty, she says. You are certain that Snow White is prettier. There’s a viable argument in there, one that rests on removal. new m-configuration: Queen   m-configuration: Queen The queen is blank. In another world, another story, the queen would look into a mirror and her frustrations would come out in anger, in wrinkled hatred and the end of blooming, and these things together would wash out her reason and leave her mind a mirror of continents: breaking up into little pieces in preparation for war. In this world, the world where war is no longer a thing of plans and dark dreams and potentiality, rage is self-indulgent. Victory requires reason, the cool and easy flow of numbers, and there is no room for anything but rationality and the stepped resolutions of engineers and mathematicians. (Control may be the only thing the two queens ever shared; the mirror that binds them together.) In this world, the queen must speak truth and that truth is objective and binding. “If we do not break Enigma, we will fail,” she says. Turing watches her speak her truth every morning in the mirror. It is a truth he knows in his bones and his water, in his cheekbones, in his fingertips. A queen should be that way. Regal, with nothing of the lie about her. “If we do not break Enigma, we will fail,” she says. (“If you do not kill Snow White, I will fall,” she says.) Enigma is the focus of his days. Turing pictures her sometimes, the way she’s snuck up on him with her perfect complexity, with the smooth supple shape of her code. Never has he seen such a perfect encryption. He’d like to pin her under glass, to keep her still and silent and spread out for observation, but she’s too much of a living thing to lie quietly. new m-configuration: Snow White   m-configuration: Snow White Snow White is x. She marks the spot. Enigma is information. She is dates and coordinates. She is rotors and contact points and letter routes, and she cannot be decrypted until her position is known. She is shiny keys and crossed wires and combinations that can be remade over and over. She is sleek and slinking and beautiful and she shines bright enough to hide the truth. Where is Snow White? says the queen, when the organs on her plate are shown to have come from other encryptions. Snow White is the threat, the unbreakable one. Enigma is in the castle, in the woods, in the cottage, in the coffin. Her positions are different each time the queen looks for her. Snow White romps over the countryside, cleaning up for the men who employ her, washing out submarines and rinsing out battalions, hanging them up to dry. She is sweeping airfields off the map. She is very hard to catch. Messages spill over the queen’s plate, and all of them are inedible. Tainted by combination, watered down with alphabet and permutation. The queen can’t chew fast enough to eat her way through to the marrow of them, and the truth of the messages is hidden from her. But the queen has a huntsman, and she is chewing faster and faster. new m-configuration: Queen   m-configuration: Snow White Snow White is ǝ. She is a placeholder, essentially. The point in the story tape that indicates beginnings. It’s beginnings that illustrate again for Turing the difference between knowledge and truth. Some confuse them, but he never has. Snow White is a story of beginnings: of conception and transmission, of birth and ciphers and familial betrayal, the crossing of borders and what it’s like to run and hide against an enemy too strong to fight. She’s a need for science, is Snow White, for poison antidotes and the exact number of kisses necessary to break the spell and open up glass and lungs, to start the heart beating again in the resistance. That too is a beginning, for waking comes with new rules and allied forces, with ambush and undermining and troop movements, the silencing of submarines as well as confetti and the roasted meats of feasting time. She’s pure numbers, is Snow White. They make up her spirit and her bones and the typewriter casing of her flesh, but as Turing tries to tease meaning from her blood he is certain in his own warm marrow that there are only two endings to her beginning. In one, Enigma sleeps in her coffin and never wakes, and there is blood and blackened hulls in the water, an island overcome. In the other, the Huntsman learns enough from the red evisceration of her organs to be able to satisfy the queen. Turing knows the ending will be one of these. He knows also that there is only one he is prepared to tolerate. He’ll see to it that Enigma has a happy ending. Because happy endings might not be truth but they’re a type of knowing too, and one he’s pinned his hopes on. new m-configuration: Apple   m-configuration: Snow White Snow White is blank. In this she reminds him of war and knives, though it’s a knife that brought Enigma to life, it’s an apple that ends her. There is such a range of possibilities in her, spread out and spread open. Thousands of permutations, millions of them, and they are all packed so close together that the mass becomes a single body, smooth and inviolate. The trouble is that Turing was brought in to violate, the huntsman tracking down, snatching skin and code from the airwaves and carving it up for queen and country. He can’t regret his post. Enigma is clean and lovely and he admires the way she moves, the kinetic precision of her, the way she skips and teases. He is confounded by her. Fascinated, and if a huntsman has dogs to bring to bay he too has beasts that growl and bite, and these are made of metal. Bletchley is full of machines, their colossal presence a bulwark and barking behind him, ready to gobble. Turing feeds Snow White to them in thin pieces, in tiny paper strips and she’s opened up before him, her blankness taking brief form and breaking up again. He doesn’t begrudge the girl her figure. Not even that it’s always changing. The variation keeps him interested; it’s more than any other woman’s ever been able to manage. But Snow White isn’t any other woman. She’s perfect, siren-voiced and something to come back to again and again. Though Turing knows he has to open her up, has to pin her down to pin meaning to that fascinating blankness, there’s part of him that’s glad for knives. It’s such an opportunity they’ve given him, to put Enigma in her coffin. new m-configuration: Snow White   m-configuration: Apple The apple is 0. The apple is 1. The apple is x. The apple is ǝ. The apple is any number of bloody things. If there’s one thing his work at Bletchley has given Turing, it is knowledge. More than that, it’s the knowledge that what he knows is frequently useless. It’s a discouraging realization. This is a list of what he knows: Turing knows that he has cracked Enigma. He sees her in his dreams sometimes, code come to life in a perfect construct of flesh and glass, black and red and white and delicate as snowflakes. And it’s such a satisfaction, he doesn’t deny it, and a relief to know that for all this hideous war has cut his country to ribbons he has helped to settle it, to blunt the sharp edges and turn them away from others, from himself. He knows constriction. Not just the pressure of routine and isolation and the need for silence, but that which comes from silence extended. For when the war is over and his work has been buried under official acts and promises, he knows limitation and what it is to bite his tongue until the bites never heal. And he knows, above all else, what it is to be lonely. Bletchley is full of people and there’s always the sense of them massing at his borders but he finds it difficult to reach over. This is especially so when these people begin to spill out of manor grounds, to go home and on and he is left with all the connections he never could make, quite. The connections he most wants, those that come with firm warm flesh and hardness moving over him... well. There is black bile within him, red teeth, the white of lips bitten down, and Turing comes to understand that, after all, knowledge can be poison as well as panacea. He knows what it is to be betrayed. He knows what apples taste like. new m-configuration: Apple   m-configuration: Apple The apple is blank. The apple is bright and sweet and carries the promise of nothing; of gaps and absence and the thought of these is a restful one. (Lately rest seems very appealing.) Turing knows what permutation is—knows it in his flesh, softer now than it used to be with his runner’s body ruined by estrogen, the chemical castration that has given him breasts. Snow White has breasts, no matter how much old Walt tried to cover them up. Turing would like to think a prince would come for him, wake him from this drugged state and break him out of the glass coffin of expected behavior but he is—has always been—the queen’s man and he knows he is not Snow White. Snow White was sealed away behind glass and put on display. She has always been Enigma for him: something to be manipulated and spread out, to be opened up for silent viewing. The apple did for both of them. Knowledge is half the time a poisoned fruit, and for all it can break a code into pieces it can break other things as well. His permutation is not nearly so subtle; it doesn’t have the camouflage of mathematics and he’s never been good at lies. Never seen the value in them. Poison seems to be the only possible solution. Simple enough to track down and Turing has made a career of tracking, of long-distance pursuit. He dips the apple in cyanide, a parody of the Evil Queen because truth is confused so often with knowledge and when he looks in mirrors they stand behind him, these so-close permutations and he’s the only one to tell difference between them. The apple is bright and sweet. He is the Huntsman. He is the Huntsman. new m-configuration: Huntsman   END "The Huntsman's Sequence" is a GlitterShip original and is copyright Octavia Cade, 2018. "Telegram From Tomorrow's Lovelorn" is a GlitterShip original and is copyright Shannon Lippert 2018. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. Thanks for listening, and we’ll be back soon with a reprint of Njàbò by Claude Lalumière.

    Hello! Welcome to GlitterShip episode #53 for March 29, 2018. This is your host, Keffy, and I'm super excited to be sharing these stories with you. Today we have three GlitterShip originals for you: a poem, a piece of flash fiction, and a short story for you. The poem is "Cucumber" by Penny Stirling.   Penny Stirling edits and embroiders in Western Australia. Their speculative fiction and poetry can be found in Lackington's, Interfictions, Strange Horizons, Heiresses of Russ, Transcendent and other venues. For aroace discussion and bird photography, follow them at www.pennystirling.com or on Twitter @numbathyal. Cucumber   Penny Stirling     He lullabies my ghosts so I can sleep in, my life-compeer, my comrade-errant, and I risk griffin bite for his medicine. We don't kiss or act how a couple should and people enquire: when will we progress? Surely we've been just friends long enough.   We find tracking migrating dragons more wondrous than our hearts, entrusting each other's lives in combat more significant than vows, unearthing riddle-hid treasure before rivals more satisfying than sex; we are closer than quest-allies yet less physical than love-couples. But feelings outside romance have less import even if we are one another's most important. Just friends.   He doesn't care, he says. He never cares what allies or enemies say, he says. I say enough! My life-partner, my peril-mate, we are enough. But I just have had enough. My friend, please: matching rings, balance-enchanted. He doesn't care, either, congratulated for finally maturing enough.   We don't kiss or act how a couple should yet people don't enquire if we will progress. Being just spouse and spouse is enough.   END   Izzy Wasserstein teaches English at a midwestern university, writes poetry and fiction, and shares a house with several animal companions and the writer Nora E. Derrington. Her work has recently appeared in or is forthcoming from Clarkesworld, Lady Churchill’s Rosebud Wristlet, Pseudopod and elsewhere. She is an enthusiastic member of the 2017 class of Clarion West. She likes to slowly run long distances. Her website is izzywasserstein.com Ports of Perceptions   Izzy Wasserstein       Chase had come down with both kind of viruses, and worried Hunter had been growing distant, so Hunter suggested they indulge in some PKD. While the drug kicked in, they sprawled on the mattress in Hunter’s flat and exchanged. Hunter’s arm-ports synched with the receivers on Chase’s back and data flowed between them, which they agreed was worth the risk, despite Chase’s cold and the v0x virus still being rooted out by antivi. Chase felt Hunter’s concern turn to desire, and they explored each other and the PKD. Chase unclasped each of their right forearms, then swapped them. Hunter’s arm, which was, or had been, or would be Chase’s, moved over their bodies. They disconnected Hunter’s not-quite-legal sensory enhancer and synched it with Chase’s, and the rush was like data exchange but more immediate, more vivid. They swapped more parts as the sensory loop built between them. Soon Chase cried out for release, but Hunter let anticipation build, feeling Chase’s rising desire, which was Hunter’s. The drug worked on their flesh, their firmware, their coil of tech and limbs; it bypassed the neurons that told Chase which body was Chase’s, which Hunter’s, that told Hunter where Hunter ended and the Universe began; and so they grew into each other, their bodies and consciousnesses spreading from their node across the web. They were together. They were everywhere. When finally they collapsed and held one another, Chase said Hunter’s name, or Hunter said Chase’s, or each said their own. They lay in the tangle of each other, and Chase was Hunter and Hunter’s thoughts were Chase’s, and neither was sure where they ended and reality began. Hunter caught Chase’s cold, or had always had it, or had always been Chase. Neither cared, if indeed they had ever been separate. END Amy Griswold is the author (with Melissa Scott) of Death by Silver (winner of the Lambda Literary Award) and A Death at the Dionysus Club, fantasy/mystery novels set in an alternate Victorian England. Her interactive novel The Eagle's Heir (with Jo Graham) was published in 2017, and their second interactive novel Stronghold, a heroic fantasy game about defending a town and building a community, is forthcoming in 2018. The Questing Beast   Amy Griswold       The first time Sir Palamedes is tempted to give up pursuing the Questing Beast, he is tramping through the woods on a bleak winter day, his frosty breath hanging in a white cloud each time he exhales.  His feet are sore, and his shoes are worn thin.  His horse went lame a week ago, and is returning home in the uncertain care of Palamedes' squire.  Palamedes is following the sound of distant barking, and is beginning to think the sound will drive him mad. He is far off any beaten track, although he can see the prints of men and horses frozen into the icy turf.  They might have been following the Questing Beast themselves, overcome with wonder at a sight that Palamedes is beginning to find commonplace.  Or they might have been about some other errand entirely.  They might even now be sipping mulled wine by a warm fire at home, rather than tramping through the woods after an abominable beast. The trees are thinning, and through them Palamedes can see the rutted track of a road.  It will be easier walking, and surely he can pick up the trail of the Beast again later.  Nothing else leaves such tracks, shaped like the hoofprints of a deer but dug deep into the turf under its monstrous weight.  Nothing else makes such a clamor, like a pack of hounds gone mad with no answering music of horns. He smells smoke before he sees the little camp by the side of the road. A horse is picketed and cropping at the thin brown grass, and a man is warming his hands over the fire.  His shield is propped against a log, and it is by the arms more than by his travel-dirtied face that Palamedes knows him: Sir Tristan, who swore to kill Palamedes when they last met. They have been sworn enemies for years, for reasons that begin to seem increasingly absurd. Once when Palamedes was a light-hearted youth, Iseult the Fair smiled at him, and he supposes that explains why he and Tristan must be enemies, even though Iseult has long since wedded Mark of Cornwall in obedience to her duty.  He suspects that competing for a lady's adulterous favors is less than the true spirit of chivalry. And yet he pauses, thinking of Iseult with sunlight on her hair, her face tipped up to him as she asked him curiously about distant Babylon which he will never see again.  She did not scorn him for keeping faith with the gods of his childhood.  Perhaps she would never have married a pagan, but there can be no question of marriage, now.  If Tristan fell, and he were there to bring her the comfort she would not seek in her unloving husband's arms … But these are unworthy thoughts.  If he steps out of the woods and declares himself, it will be to meet Tristan in battle as Tristan has long desired.  Tristan looks cold and drawn, clearly the worse for his travels, but surely no more so than Palamedes himself.  Tristan has been riding, not walking, his heavy cloak not frayed to shreds and his boots not worn parchment-thin.  It would be a fair fight, surely. The sound of hounds baying rises over the woods, a wild familiar clamor.  Tristan lifts his head, gazes into the trees for a moment, and then turns back to warming his hands, like a man too weary to think wonders any of his concern. Palamedes turns and sees the Questing Beast through the trees, distant but clear, its serpent's neck outstretched, its heavy leopard's body, from which the barking of hounds perpetually sounds, crouching balanced on its cloven hooves.  The beast itself is mute, no sound coming from its throat even when it opens its mouth as if to taste the air. The voice that whispers in his head is an older one, the goddess of his childhood, Anahita-of-the-beasts.  Or perhaps there is no voice at all, only the familiar sound of his own thoughts, his only companion on his long road. Will you keep faith with him, or with your oath? it asks. He swore to follow the Beast, and not only at his leisure.  Palamedes turns his back on the fire, the fight, and the ease of following the road, and follows the Questing Beast, quickening his steps as the Beast begins to run.   The second time Sir Palamedes is tempted to stop pursuing the Questing Beast, he is riding down a well-traveled road on a warm summer evening.  He has met with many travelers, and answered their courteous inquiries with the tale of his quest, which is becoming wearisome to tell. Most of them look at him as if he is mad, which is not entirely out of the question. The tracks of the Beast are dug deep into the mud beside the road, and he does not fear losing its trail, though it must be a day or more ahead of him.  It will sleep, for the night, and so must he.  He turns his horse's head from the road into a meadow beside a running stream.  Another traveler is camped there already, and as Palamedes dismounts he prepares to tell his story once again. Tristan emerges from his tent, stops as he recognizes Palamedes, and stands staring, apparently at a loss for words.  He looks well-fed and well-rested this time, and certainly fit for a duel. But it feels a bit ridiculous at this point to call themselves mortal enemies, having rescued each other from perils that interfered with their duel to the death so many times that it’s clear neither of them relishes having the duel at all. "Well met, Sir Tristan," he says.  "May I share your camp, or must we settle our differences on the field of arms first?" "I expect it can wait until morning," Tristan says.  "Sit and have some dinner." They share a roasted grouse and sit chewing over the bones as the stars come out. "You've never told me how you came to hunt the Questing Beast," Tristan says. He supposes he hasn't, although it feels as if he's told the tale to everyone in England.  "Sir Pellinore was growing old," he says.  "But he said he couldn't lay down his charge until there was a man willing to take it up, and he wouldn't lay such a thing on his sons." "So he laid it on you?  That seems sharp dealing." "I offered to do it," Palamedes says.  "And I suppose he thought as a stranger to these shores I wouldn't be leaving a home and responsibilities behind."  He shrugs.  "I don't regret it." "You've had little chance of winning a lady this way, though," Tristan says, as close as Palamedes thinks they will come to speaking of Iseult.  He wonders how many years it has been since Tristan has seen her.  "Surely that must come hard." "One hardly misses what one has never had," Palamedes says.  The memory of Iseult is a distant dream.  The reality is this, the road, the quest, and the sometime company of other knights who are willing to go some distance down his unending road at his side.  "If I have been deprived of the favors of fair ladies, I have had the friendship of the most gallant of knights." "I hope you count me among them," Tristan says, and Palamedes does, although he is aware they still might end by shedding each other's blood on the thirsty earth. "I would be honored," he says, and reaches out a hand to clasp Tristan's.  The other man's hand is rough and warm in his, the pulse beating hard under the skin.  It is a warm night full of possibilities.  He pulls Tristan toward him for a kiss he does not intend as brotherly. Tristan turns his head, and it ends up a brotherly salute after all.  "You know I am a Christian knight," he says.  Palamedes spreads his hands to grant that Tristan's god may be more forgiving of adultery than of other sins of the flesh.  The blood is high in Tristan's cheeks all the same, his eyes intent.  "If you were a Christian as well …" Palamedes breathes a laugh.  "Then you would feel it justified?" "Well so, if it brought you to Christ." It is a high-handed offer, and a perverse one, and still for a moment tempting.  Of all men, there are few he respects as much as Tristan, and few whose company he desires as much.  "And would you then bear me company on my quest?" "I think you would find if you accepted baptism that there were other quests more worth the pursuing," Tristan says.  "Whether the Grail or the peace of a Christian marriage and a family."  There is wistfulness in his voice when he speaks of such comforts, which certainly Tristan has never had himself. For a moment Palamedes is tempted himself to agree.  He does not regret his quest, it is true, but it is growing ever difficult to remember why it matters.  Friendship and ease would surely be worth putting himself in the bleeding hands of the Christian god. There is a breath of noise that might be the murmuring of the brook, but he knows it for the distant sound of hounds barking, barely a whisper on the wind. Are you his or mine? a voice says in the quiet of his heart, the warm implacable voice of Anahita-of-the-winds with her outstretched hands. "I can only be as I am," Palamedes says, and stands.  "And I have tarried here too long.  If I ride through the night, I can at least get closer to my quarry."  He bows to Tristan.  "We can fight next time we meet." "I will look forward to it," Tristan says quite courteously, and Palamedes swings himself up to the saddle and turns his horse's head into the darkness.   The third time Palamedes is tempted to stop pursuing the Questing Beast, he dismounts to drink at a forest stream in a crisp autumn, and raises his head to see the Questing Beast on the other side of the stream, its head bent to the water. It is silent while drinking, as if the water calms the maddened hounds who howl from its belly.  Palamedes reaches silently for the bow hung from his saddle, and fits an arrow to the string.  He draws it back, aiming for the Beast's heart.  One clean shot will bring it down, and end his quest forever. The Beast's eyes are closed as if in pleasure at the taste of the cool water.  Its sinuous neck lowers, and it settles down on its haunches, resting in the mossy bank.  It must be an effort to support that bulk on ill-fitted hooves, and to sleep with the noise of baying eternally in its own ears. It is the child of a human woman, or so Pellinore told him, the child of a liar who lusted after her own brother and lay with a demon to win him.  It will never have a mate or a home.  He thinks for a moment that he knows how it must feel. But Palamedes has friends he has loved well, and the satisfaction of having mended a hundred small hurts while on the road: he has fought monsters and found lost sheep, brought stray children back to their mothers and jousted with menacing giants.  The road has been more a reward to him than a punishment.  He wonders which it is for the Beast, and knows that he will never know. Palamedes puts down the bow and stoops to fill his cupped hands with water.  The Beast startles at the movement, raising its serpentine head and staring at him with its unblinking eyes, its whole body poised for flight. He holds out his hands to it, and the Beast takes one step into the water, and then another, and then lowers its head to drink.  Its flickering tongue is warm.  It stands quietly, trusting, and Palamedes knows that this is a wonder no other man has seen before him. Would the Grail be better? a voice asks, the teasing voice of Anahita-of-the-waters. "You know it would not," he says aloud.  The Beast raises its head sharply at the sound, the clamor of barking beginning again.  It whips its bulk around and springs away, the barking retreating through the underbrush. Palamedes bends to drink, and then mounts his horse again, turning its head toward the sound of baying hounds.  It is a long afternoon's pursuit through the cool clear autumn air, the leaves turning to all the colors of a tapestry lit by dancing flames. The trees thin at the edge of the wood, and when he comes out onto the road, he is somehow unsurprised to see a familiar knight riding under a familiar banner.  Tristan's face is set in lines of frustration, and Palamedes supposes that he has been trying to persuade Iseult to run away with him again, as suitably impossible a quest as any. "Well met, Sir Tristan," he says, falling in beside him on the road.  "May I ride a little ways with you, or must we stop to have our battle?" "We might ride on a little ways beforehand," Tristan says.  He smiles, and some few of his cares seem to lift from him.  "Have you given more thought to baptism since last we met?  It seems to me you were undecided when we spoke before." "I was not, and I am not," Palamedes says.  "But you may go on trying to persuade me."  He spurs his horse on to a faster walk, knowing soon enough he will have to turn away from the road toward the sound of distant baying.  But for now he has a good road underfoot, and on such a fine day, he cannot think of any road he would rather be traveling.   END “Cucumber” is copyright Penny Stirling 2018. "Ports of Perceptions" is copyright Izzy Wasserstein 2018. "The Questing Beast" is copyright Amy Griswold 2018. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. Thanks for listening, and we’ll be back soon with a reprint.

The Whisper of Clockwork Wings by Sandra M. Odell.  Featuring and afterword by Sandra M. Odell.  Read by J.S. Arquin.  #steampunk #clockwork    "On the first day of the end of the world, Lieutenant Archimedes Phillips bleeds, and drinks stale water from a canteen cup..."   Sandra M. Odell lives in Washington state with her husband, sons, and an Albanian miniature moose disguised as a dog.  Her work has appeared in such venues as Jim Baen's UNIVERSE, Daily Science Fiction, and Crossed Genres.  She is a Clarion West 2010 graduate, and an active member of SFWA.  Find her online at www.writerodell.com. And on Twitter @WriterOdell.   Please help support The Overcast.  Become A Patron today! Don't forget to subscribe on iTunes or Stitcher so you never miss an episode!        

We're super excited about the new Doctor Who. If you can envision a 900-year-old time lord with a soft spot for humans, but can't picture them as a woman, GTFO. We also loved the A Wrinkle in Time trailer. Ava Duvernay and Storm Reid are two of our favorite creators! Then, we heard the D23 announcement about dedicated Star Wars and Marvel lands, plus the immersive Star Wars resort hotel. How will the muggles LARP?! We loved Wendy Wagner's reading and trivia game for An Oath of Dogs, but we didn't love the movie Passengers. Spider-Man was earnest and too good for this world. Why on earth was an AI encouraging Peter Parker to kiss a girl during a dangerous moment? We confess that we didn't finish the entire Hugo voting packet, but we did come close, and we got our voting finished. We talk about China Mieville's This Census-Taker, Kai Ashante Wilson's A Taste of Honey and Lois McMaster Bujold's Penric and the Shaman. And finally, even though it's not speculative, we love the Ear Hustle podcast; created by two inmates in San Quentin prison. Next week, we're talking about Wendy Wagner's new book An Oath of Dogs and hopefully seeing at least one more summer release film. And if you're in the Seattle area, don't miss Daniel Jose Older (with guest DJ and Clarion West '16 alum Gabriel Teodros) at the Seattle Public Library on Tuesday, July 18th.

Most working writers agree that there is one quality above all needed to make it in the business: persistence. The Mad Writers invited the legendary Cat Rambo over to talk persistence and writing. From her days at Johns Hopkins through to keeping up writing a short story a week after Clarion West and all the way to her days working in SFWA. Cat Rambo is a writer, teacher, SFWA president and previously secretary. Generous in her encouragement of new writers and brilliant in her turn of prose, she can be found at catrambo.com Recommended reading: Cat's recommendation: Lovecraft Country: A Novel by Matt Ruff Tim's recommendation: Definitely Maybe (Neversink) by Arkady and Boris Strugatsky Jay's recommendation: The Art of Language Invention: From Horse-Lords to Dark Elves, the Words Behind World-Building by David J Peterson Nina's recommendation: Jane Steele by Lyndsay Faye Please support Mad Writers Union by reviewing it on iTunes or Stitcher! You can subscribe to this show on iTunes or via RSS. Intro and outro music comes from “Cephalopod” by Kevin MacLeod (incompetech.com); licensed under Creative Commons: By Attribution 3.0

Curiosity Fruit Machine by S. Qiouyi Lu "What is it?" Alliq says. Jalzy runs eir hands over the object. It's a box of some sort, made from metal with organic paneling; a narrow lever sticks out from one side. Ey finds emself reaching out to the lever, eir fingers grasping the pockmarked knob at the end as if working from unearthed muscle memory. "I have no clue," Jalzy says. "But... I kinda wanna pull this and see what happens."   CURIOSITY FRUIT MACHINE and THE SLOW ONES are both GlitterShip Originals. [Full transcript after the cut]  ----more---- Hello! Welcome to GlitterShip, episode 33 for February 14, 2017. This is your host, Keffy, and I’m super excited to be sharing these stories with you. We have two stories this week, "Curiosity Fruit Machine" by S. Qiouyi Lu and "The Slow Ones" by JY Yang. Even better, S. narrated both stories for us! S. Qiouyi Lu is a writer, artist, narrator, and translator; their stories have appeared in Strange Horizons and Daily Science Fiction, and their poetry has appeared in Liminality and Uncanny. They are a 2016 graduate of the Clarion West writers workshop and a dread member of the Queer Asian SFFH Illuminati. Find them online at s.qiouyi.lu or follow them on Twitter at @sqiouyilu. JY Yang is a queer, non-binary writer and editor who has short fiction published or forthcoming in places like Uncanny, Lightspeed, Strange Horizons and Tor.com. Their debut novellas, THE RED THREADS OF FORTUNE and THE BLACK TIDES OF HEAVEN, will be out from Tor.com Publishing in Fall 2017. They live in Singapore, edit fiction at Epigram Books, and swan about Twitter as @halleluyang.     Curiosity Fruit Machine by S. Qiouyi Lu   "What is it?" Alliq says. Jalzy runs eir hands over the object. It's a box of some sort, made from metal with organic paneling; a narrow lever sticks out from one side. Ey finds emself reaching out to the lever, eir fingers grasping the pockmarked knob at the end as if working from unearthed muscle memory. "I have no clue," Jalzy says. "But... I kinda wanna pull this and see what happens." Alliq frowns. "Don't. For all we know, that thing could be some sort of weapon. We should probably wait for the others to catch up so we can get the engineering team to take a proper look." Alliq's voice fades into a mumble. Jalzy presses eir nose to the glass front of the object and brushes a tight curl of hair out of eir face. Ey can just barely make out some lettering—PAY. Eir grasp of 21st-century English is weak, but this seems to be a money machine of some sort. Surely, ey thinks, bringing eir arm down, a money machine can't hurt em... "Don't—!" The object whirs to life, three wheels inside the glass case spinning; a few of the bulbs lining the edge buzz and spark. Jalzy jumps back. Oh crap. Ccccccclackkkclackkclackkk—didn't old-timey explosives make that sound? Or were explosives more of a tick-tock sound? One of the wheels clicks as it stops—Jalzy grabs Alliq by the wrist, drags xem to a safe spot behind a wall of heavy crates—then another click—they brace themselves—and—click! Alliq flinches. Jalzy waits a moment—a dud, perhaps?—before peeking past the edge of the crates. The object's face shows one symbol, then two of the same symbol. The first is an oblong, yellow shape, and the next two are round, red orbs connected by an inverted green V. "I think we're safe," Jalzy whispers. Alliq comes up from xyr braced position. "Goddammit, don't do this to me," Alliq hisses. Xe's sweating a little, xyr forehead shining, and Jalzy has to suppress a giggle. "Hey, we're fine, right?" Ey steps out from behind the crates and goes back to the object. Ey crouches down. There's a metal trough underneath the symbols, but it's empty. Do they need to put something in there? "Jalzy," Alliq says from over eir shoulder, "those are—those are pictures of fruit." "What's a fruit?" "Seriously?" Alliq says, voice laden with exasperation. When Jalzy gives xem a blank stare, Alliq points at the oblong symbol and says, "Look, the first one is a lemon. Those two on the right, those are cherries." Jalzy squints. "I thought 'cherry' and 'lemon' were just colors. You know, like how we also have orange nutriblocks in our sustenance packs." Alliq snorts. "You know there used to be a fruit called 'orange', right? It wasn't just a color. Those are actually flavors. They came from these." Jalzy straightens up and paces around the object. "So what is this, a fruit-making machine?" "Did you never take terrabiology?" Alliq says. "History of Earth? Anything?" "Look, I took astrophysics so I wouldn't have to deal with so much reading, okay," Jalzy says, flipping eir crown of curls over eir shoulder. "So just educate me already, O All-Knowing Alliq." Alliq crosses xyr arms over xyr chest in a huff. "Fruit comes from seeds, not machines. I mean, we perfected the science to duplicate the flavors all the way back in the 21st century, but we never really got down how to duplicate the organic material. So the best we've got now is our nutriblocks." Xe unfolds xyr arms and circles around the object. "This—this is something else entirely. I don't think it actually has anything to do with food." "So, if it doesn't seem to be a weapon, and it doesn't produce anything... wanna pull the lever again and see what happens?" Jalzy grins slyly at Alliq, who raises xyr hands in surrender. "I'm going to check out the other room. If I were you, I'd just keep doing inventory until engineering gets here and can confirm what kind of object that is." Jalzy sticks out eir tongue. "Good thing you're not me," ey says. And ey pulls the lever again.   END       The Slow Ones by JY Yang   "The grass is dying." Kira looked up from squeezing a sachet of turkey-flavored sludge into the cat's bowl. Thom was standing by the living room window in his bathrobe still, holding a chipped mug of coffee and gazing out. "What?" she asked. "The grass. In the garden. It's gone all brown." She dumped the sachet in the trash and almost rinsed her sticky fingers under the kitchen faucet. But she remembered in time, and instead wiped them on the dishtowel she'd hung up. She hurried into the living room. "There," Thom said, "see?" In the small rectangle of dirt they called a garden the sparse tufts of grass had shriveled and turned colorless like the hair on an old man's head. A flap of crisp packet gleamed in the far corner, silver-underside-up, chicken bones scattered around it. The neighborhood kids. Kira wondered how long they had been there. Maybe forever. Everything seemed stuck in stasis these days. The grass had been in decline for a long time, months before the invasion began. Once upon a time Kira had plans for that patch. She had imagined cultivating flowers: Tulips, daffodils, rosebushes. Climbing ivies for the trellis. Maybe even one of those outdoor water features. But there hadn't been any time, had there? "Hasn't rained in weeks," Thom said. "Might never rain again." Kira exhaled and stormed back to the kitchen. The clock said five to three and she wished it didn't. She took a box of porkloin out of the freezer and popped it into the fridge. "Might as well dig it all up," Thom said from the living room. "Yeah, why don't you do it?" she said, louder than she'd intended. The cat had cleaned out her bowl and now stood staring at Kira, tail stiff in expectation. Kira snatched the water dish off the floor, then gingerly ran a centimeter of water into it. "Don't waste it," she told the cat as she sat it down again. In the living room Thom had settled into the armchair, knees apart, eyes blank. "What would be the point?" "What?" He turned to look at her, framed in the doorway between the kitchen and the living room, and shrugged. "There's no point." "Whatever," she said, and went to put her boots on. The cat had followed her out of the kitchen. "Come here, girl," she heard Thom say, his voice soft and charming, like it always used to be. Kira shoved her feet into the narrow confines of her boots. "I've left pork chops in the fridge to defrost," she said. "If you have time, you could make dinner." She knew he wouldn't. The cat settled on the windowsill to watch her as she stepped outside and locked the front door. Kira pulled her coat around herself, and then, because she had to, like pulling a plaster off, to get it over with; because she couldn't just ignore it, she looked up at the sky. From horizon to horizon, the sky above their street was filled with aliens. A thick layer of massive silver bodies, like cumulus rolls made of mercury, slid by over the tops of the streetlamps, the roofs, the twisted fingers of bare trees. Sunlight sometimes leaked through their bulk, but not often; the world had been in a state of weak thunderstorm dusk for weeks. The president of the United States had called them the Slow Ones, and the name stuck. Their enormous smooth bodies slipped against one another in a never-ending parade. There were scales and faint markings on each one whose purpose was impossible to discern. Concentric discs in alternating light and dark colors, larger across than a commercial jetliner, were assumed by observers to be eyes. But the gaping maw in front of each one, leading into unfathomable darkness: That one everyone could agree on. It was a mouth. A permanently open mouth. They were sucking up all the water vapor in the atmosphere. That was what the scientists on the proper news channels—BBC, CNN, Al-Jazeera—were all saying. But even the so-called experts knew so little about what was going on that people were no worse off reading crackpot theories on the Internet. Those had sprung up like mushrooms in the wake of rain, or perhaps, in the absence of it. They offered up all kinds of explanations as to what was happening: Act of God, benign migration, hostile invasion, collective hallucination. The first few days after the Slow Ones arrived, pouring into the sky above Alaska like reflective pancake batter until they blanketed the Earth, Thom had spent hours scrolling through theory after theory after theory, the most promising of which he served up to Kira over dinner, or texted to her while he was at work. That was when he still had work. The Slow Ones were aliens. This was something almost everyone—the scientist, the conspiracy theorist, the person on the street—agreed on. They were not of this world. The prevailing theory was that these were migratory creatures and they would leave for unknown pastures in good time. And then sunlight and blue skies and rain would return to the world. Wind and weather and water evaporation, all those good things. It was unlikely a theory as anything, but it allowed people to hold on to hope. Kira put her hood up and hurried down the street. If she walked fast enough, she might catch the three-fifteen bus to the city center. She missed the bus. When Kira finally arrived at the city center, the air under the Slow Ones was still. Not a wing stirred in it, not a guttural call rang out. Gulls were a year-round phenomenon in Norwich, sailing from spire to spire and filling public spaces with their noises regardless of the season. But their numbers in the market square had been dwindling since the Slow Ones arrived, and today was the day, it seemed, they passed the point of no return. Kira noted this with an odd trill in her belly. She, like everyone else, had grown numb to the clipped tones of a Dr. Somebody explaining to a presenter, in clinical terms, how the disruption to the Earth's water cycle was killing all the fish in the ocean. But it was another thing entirely to watch all the seabirds vanish before her eyes, relegated to an unknown fate. She hurried through the semi-sparse mid-afternoon crowd. When Thom's agency had moved him here a few years ago, she had been struck by how many retirees she saw on the streets. It felt like a different kind of fabric had been sewn in place compared to London which she had just gotten used to, and Kuala Lumpur where she had grown up. It was a good move for them, Thom being promoted to Norfolk branch manager, but Kira had wondered about all the people here, aging in place. It put in her mind an image of people sinking to the bottom of a lake, like sediment. Of course, at that time tourism was still a booming industry, and Thom had glowing images in his sights, futures full of holiday cottages and ski trips to the Alps. Neither of them knew what lay on the horizon: the shrinkings and the layoffs and the final collapse that awaited them. The arrival of the Slow Ones had only been a final straw. As she walked past the market square Charles, who ran one of the fruit stalls, waved at her. "All right?" he asked. An impulse seized her then, a screaming impulse, one which wanted to ask him how could he be so calm, couldn't he see what was happening? She wanted to grab him and shake him, point him to the sky and the shuttered fish stall next to him and the sad twisted things that were left of his wares, she wanted to do that and ask, Can't you see? Can't you see? She wanted to run at all the white-haired folk shuffling down the street getting on with their business as usual and shout it at them, shout it into their hairy wrinkled ears. She smiled at Charles. "Yeah, I'm alright." By the time she had gone down all the little streets that led her to the Pushcart she was half an hour late for work. As she came through the eatery's glass-paneled wooden door she caught a glimpse of Melanie's splendid silhouette at the till and her heart did that weird flutter it always did when Melanie was around. She shoved that sensation deep inside herself, where it belonged, and put on her shop-girl smile. In the afternoons the Pushcart sold tea and scones and crepes with bacon and maple syrup. Come evenings and the menu switched to alcohol and deep-fried things served in small silver buckets. Today the sign said no tea, they were under rations, bottled drinks only please. The warm brown interior of the cafe held a handful of lethargic patrons in various states of apathy, chewing fitfully or reading the news. Some of them were watching the TV nailed to the far wall, framed by old ship ropes and seashells. They usually kept it off unless there was footy going on, but since the Slow Ones came it had been permanently fixed to BBC News. The prevailing graphic, set to an indistinct voiceover, said WHAT WE KNOW SO FAR. (Nothing. They knew nothing. When governments and scientists sent drones and instruments up to the Slow Ones they stopped working, some kind of electromagnetic interference, they said. NASA was stumped. Everybody was stumped, grasping at straws.) Melanie didn't turn around as Kira stashed her things under the counter. That was an anomaly: For the past six months Kira's work routine had always begun with her warm and buttery smile. She studied her coworker's broad back, hunched over the till, noting the crooked way the apron was fastened around her waist. "You alright?" Melanie straightened up with a speed that suggested she hadn't heard Kira come in. "Hey. How's it going?" She looked tired, a collection of messy lines and dark smudges, as though the weekend had worn her face thin somehow. "You alright?" she repeated. "Yeah, I suppose. The sky hasn't fallen in, has it?" She gave Kira a laugh, and it was the kind that spoke less of mirth than it did of defeat. "How's life at home?" Kira's fingers fumbled with her apron strings. Melanie noticed her struggling and said, "Let me get that." With her back turned Kira said, "Life goes on. Thom's still moping." A firm tug at her waist. "He'll recover. Have faith." "I'm an atheist for a reason." She turned around. "How's Angie?" "Ha. Funny you should ask." Melanie sucked in a breath. "She's gone back to Sheffield." "What, you mean—" "Yeah. Permanently. She spent the weekend packing." Melanie was staring at her knuckles, which she kept lightly punching against the counter. "I'm sorry. What happened?" "Can't quite say, really. Just th— I don't know. She'd been planning it for a while, I think. She got back with her ex without telling me." She looked at Kira suddenly, eyes bright and shining. "Might as well, eh? End of the world and all that." "I'm sorry." She reached out and touched Melanie's forearm for a brief, hot moment. "I'm surprised, honestly." "Are you." "I mean, I—" She wanted to say, I always thought you two had the perfect relationship. "You two seemed so happy." "We did, didn't we?" She laughed again, and one corner of her mouth quirked upwards. In the slant of those lips Kira suddenly saw the cracking of facade and glimpsed familiar shores: the simmering irritations, the long silent nights, the cold stretches of not-arguments that thawed slowly into not-forgiveness. "Come help me with this till," Melanie said. "Something's wrong." They fought with the till. It was an old-fashioned one, just buttons and a drawer that popped out. It was jammed. They figured out the problem—a coin had gotten stuck, down the side of the drawer, and they fished it out with a flat screwdriver. "There you are, you little bastard," Melanie said, shaking the coin like a misbehaving puppy. She put it on top of the till, a tiny victory. At six a man barged into the Pushcart and slammed into the counter as Kira was ringing up an old lady's tea. "Turn your TV on," he rasped. "It's on," Kira said, pointing. The President of the United States, looking like he had aged ten years in as many days, was speaking inaudibly. In one corner a red block declared “LIVE.” The man was youngish, clean-shaven, dressed in clothes that were well looked-after. "Turn it up. Turn it up." Kira looked around, but she had no idea where Melanie was. The woman by the TV stepped up and reached for the volume dial. The voice of the US president, clipped and nasal, rose up and filled the room. "... THAT I AUTHORIZE THE USE OF THERMONUCLEAR WEAPONS AGAINST THE PHENOMENON KNOWN AS THE SLOW ONES..." "He's going to nuke them," the man who'd burst in said. "It's mental." Titters of conversation filled the room. What could that mean? Kira felt like the ground under her was vanishing, but she couldn't tell if it was her or the planet that was evaporating. The US president said: The missiles would be released over the middle of the Atlantic Ocean, far from any centers of civilization. The US president said: America could no longer wait for world powers to deliberate on a unified course of action. The US president said: America must take steps necessary to safeguard our future. A young man near the front of house was telling his girlfriend, in loud tones, how the radiation was going to get seeded in the atmosphere and kill them all. He was a physicist, he knew. The hawks running America, drunk on their Hollywood apocalypse dreams, were going to destroy life on the planet as we knew it. "It's war, you know," the old lady at the till said to Kira. "The Russians aren't going to like it. They're going to do something, you'll see." She declared it matter-of-factly, with utter conviction, and Kira saw the young girl she had been, bent over the radio, listening for news from the frontlines. On impulse she said, "It's on the house," and closed the till. "Go on, everything's free today." The man who had run in said, "Could I get—" "No, no, we're closing." Kira walked out from behind the counter, her legs shaky but still functional, and went to the glass-paneled door. The US president was still talking. She refused to look at the sky as she flipped the “OPEN” sign over. "I'm sorry. Please, everyone, could you just leave. We're closed. Everything's on the house." The scattered handfuls looked at her and each other, uncertain. "Go home," Kira said. "Call your mother, hug your children. Go home." She watched them file out onto the dark streets. When it was just her in the Pushcart she abandoned the unwashed, undressed tables and turned the lights out. Craig, the owner, only came in on Thursdays and weekends. She'd sort it out later. She found Melanie behind the storeroom door, chest still slowly heaving in the wake of a long fit of crying. She stood up, looking embarrassed, as Kira came in. "Sorry. I—still a bit of a mess—did something happen?" Kira ghosted towards her, fixed on her red-rimmed eyes, her lips. "The world's going to end." "What?" "The Americans are going to nuke the Slow Ones. They're doing it tomorrow." Melanie exhaled. "Madness." Madness, chaos, centers not holding. Just what was she clinging on to, anyway? Kira reached up and kissed her. Melanie's body reacted with surprise at first, then hunger. She had strong arms that could lift a double carton of coffee beans over her head, and they trembled around Kira's waist. As Kira sublimed into liquid Melanie closed the door behind them, so that nobody would hear. Later, as they sat together on the floor, sticky skin to sticky skin, Melanie asked, "Why?" No modifiers, no clauses. Just ”why.” Kira remained quiet for a while, pinching her toes inside the lingering damp heat of her boots. "Thom once told me about a theory he read. You know how they said the Slow Ones might be like migratory birds?" "I've heard that one. Sounds like tosh. But pretty much everything does these days." "Well, migratory birds come back every year. So why haven't we seen the Slow Ones before? Why has no-one, out of all of human history, ever mentioned them?" "So they're not migratory." Kira could still picture Thom's face as he had grilled her over this theory at the dinner table. How his freckled face had lit up with schoolboy excitement at the prospect of humanity's destruction, something interesting happening at last. "Well, the universe operates on a different scale, doesn't it? Billions and billions. What if the Slow Ones do come back, but so long that they only appear once every geologic age?" Melanie made a grunting noise. Kira settled her soft hip against Melanie's bony one. "It's the extinction events," she said. "What are those?" "Big die-offs." She curled her fingers around one of Melanie's nipples. "Like the dinosaurs. The Cretaceous-Tertiary extinction. That's the one everyone knows, but it wasn't the only one. The fossil record is full of mass extinctions. Late Devonian, Permian-Triassic, Triassic-Jurassic... Once every thirty million years, like clockwork. Scientists don't know why." Melanie turned her head, her attention caught. "The Slow Ones?" "The oceans are already all dead. That's how it usually starts." "So we're going extinct." "Probably. I don't know. It's just a theory, anyway." Melanie blew air through wet lips. "It's not like we can get off this planet, is it?" Kira laid her head against Melanie's shoulder and listened to the sound of her breathing for a while. "You know," she said, "some scientists think extinction events are like planetary do-overs. Evolution speeds up after each extinction event. New forms of life start to flourish." "Like when you get left for a younger woman." Kira snorted. Melanie caught the edge of her hand and caressed the tip of her little finger, gently feeling around the shape of knuckle. How small our bones are, Kira thought, how fragile. What if whoever comes after us never finds them? It would be as if we never existed. A blank in the fossil record. "Are you going to tell Thom?" Melanie asked. Kira thought of what Thom's reaction might be. The things he would say, and the things he wouldn't. The look on his face, both accusatory and triumphant. She felt tired. "No," she said finally. "He's got enough on his mind." She could see him now, in his bathrobe still, standing at the window, watching grass die in their garden as the sky grew darker and darker. In the fridge, untouched, a pair of pork chops slowly defrosted, waiting and waiting and waiting. END     “Curiosity Fruit Machine” is copyright S. Qiouyi Lu, 2017. "The Slow Ones" is copyright JY Yang, 2017. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. Thanks for listening, and I’ll be back on February 28 with a reprint of “for she is the stars, and the sun revolves around her” by Agatha Tan. [Music plays out]

Interview with Rob Boffard, author of Tracer. Main Fiction: "Solomon's Little Sister" by Jay O'Connell Originally published in Asimov's Jay O'Connell is a writer, artist, activist, human living in Cambridge MA with his wife, two kids, two cats, and eight zillion books. A graduate of Clarion West in the nineties, Jay quit writing for no earthly reason for over a decade but returned in 2012 with a bunch of shorts and novellas in Asimov’s, F&SF, Interzone and Analog, fulfilling a life long dream. He blogs about his social media addiction and writing at www.jayoconnell.com, dreaming his life away, awaiting the singularity—or something equally entertaining. He thanks, profusely, his family and writing workshop, Griffins, for all their support. Narrated by: Ralph Ambrose RM Ambrose is a writer of Science Fiction and Fantasy and Director of Web Services at Loma Linda University Health. He is also Assistant Fiction Editor and sometimes Narrator at StarShipSofa. He occasionally blogs at Liminal.IT. He spent... See acast.com/privacy for privacy and opt-out information.

Cat Rambo lives, writes, and edits in the Pacific Northwest. Her work has appeared in such places as Asimov's, Weird Tales, and Strange Horizons. She was the fiction editor of award-winning Fantasy Magazine and appeared on the World Fantasy Award ballot in 2012 for that work. Her story "Five Ways to Fall in Love on Planet Porcelain" was a 2012 Nebula Award finalist. She has worked as a programmer-writer for Microsoft and a Tarot card reader, professions which, she claims, both involve a certain combination of technical knowledge and willingness to go with the flow. A graduate of the Johns Hopkins Writing Seminars and Clarion West, she also works with Armageddon MUD, and writes gaming articles. A frequent volunteer with the Science Fiction and Fantasy Writers of America, she is currently its president. See acast.com/privacy for privacy and opt-out information.

"Lazarus and the Amazing Kid Phoenix" by Jennifer Giesbrecht -- published in Apex Magazine issue 86, July 2016.   Read it here: http://www.apex-magazine.com/lazarus-and-the-amazing-kid-phoenix/ Enjoy our interview with the author here: http://www.apex-magazine.com/interview-with-author-jennifer-giesbrecht/ Jennifer Giesbrecht is a native of Halifax, Nova Scotia where she earned her degree in History and Methodology. She’s a freelance editor, multi-disciplinary nerd, and a graduate of Clarion West’s 2013 class. Her work has previously appeared in Nightmare Magazine, XIII: ‘Stories of Resurrection’, and Imaginarium 3. This Apex Magazine Podcast was performed and produced by Mahvesh Murad. Music used with kind permission of BenSound.com! Apex Magazine Podcast, Copyright Apex Publications. Apex Magazine is a monthly short fiction zine focused on dark science fiction, fantasy, and horror. Find us at http://www.apex-magazine.com.

Randy Henderson is a first-place winner of Writers of the Future, a Clarion West graduate, and a member of SFWA and Codex. His short fiction has appeared in places like Penumbra, Escape Pod, and Realms of Fantasy, as well as several anthologies. Henderson reads from and discusses his second novel Bigfootloose and Finn Fancy Free: […]

In this podcast Helen Marshall talks about Fantasy genre misconceptions, Clarion West Writers Workshop and rules of writing.  About Helen Marshall Helen Marshall is an award-winning author, editor, and bibliophile. Her poetry and fiction have been published in The Chiaroscuro, Abyss & Apex, Lady Churchill’s Rosebud Wristlet, Tor.com and has been reprinted in several Year’s Best anthologies. Her debut collection of short … Continue reading

Chameleo: A Strange But True Story of Invisible Spies, Heroin Addiction and Homeland Security (O/R Books) A mesmerizing mix of Charles Bukowski, Hunter S. Thompson, and Philip K. Dick, Chameleo is a true account of what happened in a seedy Southern California town when an enthusiastic and unrepentant heroin addict named Dion Fuller sheltered a U.S. Marine who’d stolen night vision goggles and perhaps a few top secret files from a nearby military base.Dion found himself arrested (under the ostensible auspices of The Patriot Act) for conspiring with international terrorists to smuggle Top Secret military equipment out of Camp Pendleton. The fact that Dion had absolutely nothing to do with international terrorists, smuggling, Top Secret military equipment, or Camp Pendleton didn’t seem to bother the military. He was released from jail after a six-day-long Abu-Ghraib-style interrogation. Subsequently, he believed himself under intense government scrutiny — and, he suspected, the subject of bizarre experimentation involving “cloaking”— electro-optical camouflage so extreme it renders observers practically invisible from a distance of some meters — by the Department of Homeland Security. Hallucination? Perhaps — except Robert Guffey, an English teacher and Dion’s friend, tracked down and interviewed one of the scientists behind the project codenamed “Chameleo,” experimental technology which appears to have been stolen by the U.S. Department of Defense and deployed on American soil. More shocking still, Guffey discovered that the DoD has been experimenting with its newest technologies on a number of American citizens.Praise for Chameleo:"Guffey is my kind of crazy. He understands that the universe is preposterous, life is improbable, and chaos rules: get used to it." —Pat Cadigan, author of Mindplayers"Robert Guffey's writing has impressed, entertained, and enlightened me pretty much since I first met him, as one of my Clarion West students. My suggestion? If he wrote it, read it." —Jack Womack, author of Random Acts of Senseless ViolenceRobert Guffey is a lecturer in the Department of English at California State University – Long Beach. A graduate of the famed Clarion Writers Workshop in Seattle, he is the author of a collection of novellas entitled Spies & Saucers (PS Publishing, 2014). His first book of nonfiction, Cryptoscatology: Conspiracy Theory as Art Form, was published in 2012. He’s written stories and articles for numerous magazines and anthologies, among them Fortean Times, Mysteries, Nameless Magazine, New Dawn, The New York Review of Science Fiction, Paranoia, The Third Alternative, and Video Watchdog Magazine.Gerry Fialka - Artist, writer, and paramedia ecologist lectures world-wide on experimental film, avant-garde art and subversive social media. He has curated three film series in LA for over three decades. Fialka has been praised by the Los Angeles Times as "the multi-media Renaissance man." The LA Weekly proclaimed him "a cultural revolutionary."

"A Sister's Weight In Stone" by JY Yang -- published in Apex Magazine issue 72, May 2015. JY Yang has held seven jobs in four industries in under a decade. The one thing enduring this mess has been her endeavours as a speculative fiction writer. She has had short stories published in markets both Singaporean (Ceriph, Fish Eats Lion, From The Belly Of The Cat) and international (Clarkesworld, Crossed Genres, Strange Horizons). A graduate of the Clarion West workshop, J lives in Singapore in a bubble populated by her imagination and an indeterminate number of succulent plants named Lars. Find J on Twitter at @halleluyang. This Apex Magazine Podcast was performed and produced by Lisa Shininger. Music used with kind permission of Oh, Alchemy! Apex Magazine Podcast, Copyright Apex Publications.

First Story: “The Dream Eaters” by A.M. Dellamonica Mo Cottonsmith had just turned sixteen when she started Lopside Fashions, with cash she stole from a neighborhood fizz dealer. The money wasn’t enough to sustain a business, but Mo counted on getting lucky. She believed in making her own luck, too: thanks to a roving copcam, her first creation just happened to debut on all the morning news shows. The dress was daffodil yellow with simulated dewdrops on the bodice and a chainmail hoop skirt. Mo’s pal Juanita Jones was modeling, and the footage showed her fighting off a couple of deviants. A.M. Dellamonica has recently moved to Toronto, Canada, after 22 years in Vancouver. In addition to writing, she studies yoga and takes thousands of digital photographs. She is a graduate of Clarion West and teaches writing through the UCLA Extension Writers’ Program. Dellamonica’s first novel, Indigo Springs, won the Sunburst Award for Canadian Literature... See acast.com/privacy for privacy and opt-out information.

Registration is now open for the 2015 Out of Excuses Writing Workshop and Retreat. For the last two years the event has had a very limited size, and as a result has sold out very quickly. For 2015 we have moved to a new venue, removed the attendance limit, and increased the amount of instructor interaction—all without raising the price. The 2015 Out of Excuses Writing Workshop and Retreat will be held from September 20th through the 27th on the Independence of the Seas. It's a cruise ship. [UPDATE: We have sold through our original block of rooms. The cruise has provided us with additional rooms, but the rate is higher for these. The updated rates are now reflected on the registration page, and in the numbers provided below] The base price of $1300 covers the full week of intensive seminars, writing exercises, and free writing time, plus meals, double-occupancy lodging, and a cruise to four different Caribbean destinations. Attendees will also be invited to submit questions for some of the episodes of Writing Excuses which will be recorded while we're at sea. At sea. Seriously. SEMINARS Each seminar will include writing exercises and Q&A time with the instructor. Topics will include: Outlining Revision Pacing Suspense Humor Worldbuilding Character creation ... and much more. ADDITIONAL BREAKOUT SESSIONS There will be a limited number of additional breakout sessions and one-on-one sessions with individual instructors.  There is no additional charge for these, but because of the size of the event they will be distributed by lottery. The first 100 attendees registering prior to January 15th, 2015, will be entered in the lottery. These breakout sessions include: 6-member novel critique groups: Members will submit excerpts up to 5000 words for critique by the group as well as one of the podcasters. (Please note that this means you are committing to critique the stories of the other group members.) 6-member short story critique groups: Members will submit short stories up to 5000 words for critique by the group as well as one of the podcasters. (Please note that this means you are committing to critique the stories of the other group members.) 6-member outlining sessions: Each person must come prepared with a story idea, including an ending. The host will help each attendee turn that into a working outline, ready for them to begin writing. One-on-one Q&As: This is a 15-minute one-on-one session with one of the hosts, and you decide how that time will be spent. We can critique the first five pages of a manuscript, drill down on a worldbuilding conundrum, answer specific questions, or offer general advice. GUEST HOSTS Nalo Hopkinson. (Photo (c)2011 by David Findlay) To give you an even bigger bang for your buck, we are inviting other authors and industry professionals to help teach classes and breakouts throughout the week. The number of additional hosts depends on the number of attendees. Nalo Hopkinson is a professional writing teacher, and one of our favorite panelists to listen to at conventions—she's personable, funny, and brilliant. She's been nominated for the Philip K. Dick award, the Nebula award, and Aurora award, all multiple times; her short story collection “Skin Folk” won the World Fantasy award, and her novel The New Moon's Arms won the Sunburst award. She's a Jamaican-Canadian whose tap roots extend to Trinidad and Guyana. She is a professor of Creative Writing at the University of California Riverside. She has taught numerous times at both Clarion and Clarion West. Her short story collection Falling in Love With Hominids will appear from Tachyon Books in 2015. In short, she's very good at what she does, and very good at teaching others how to do it. She'll be an excellent addition to the workshop, and we're excited to have her. Delia Sherman was born in Tokyo, Japan, and brought up in New York City.

Coming up… Fact: Fiction Crawler No 15 by Matthew Sanborn Smith 01:35   Short Fiction: 2014 Hugo Nominee – “If You Were a Dinosaur, My Love,” by Rachel Swirsky 10:20 If you were a dinosaur, my love, then you would be a T-Rex. You’d be a small one, only five feet, ten inches, the same height as human-you. You’d be fragile-boned and you’d walk with as delicate and polite a gait as you could manage on massive talons. Your eyes would gaze gently from beneath your bony brow-ridge.  This narration originally appeared on Apex Magazine and is used with permission.   Rachel Swirsky holds an MFA in fiction from the Iowa Writers Workshop and attended Clarion West in 2005. Her short fiction has appeared in numerous magazines and anthologies... See acast.com/privacy for privacy and opt-out information.

Today Michael Thomas talks with Bryan camp about speculative fiction, its relationship to its pulp origins, its distinction from contemporary realism, and it’s possibilities for prompting new understanding. See the show notes for works cited in the episode. Bryan is a graduate of the Clarion West writing workshop, holds and MFA from the University of New Orleans and currently writes and teaches in New Orleans. Works Cited: - Doctorow, Cory. Little Brother. 1st Tor Teen, ed, 2010. - Doctorow, Cory. Homeland. Tor Teen, 2013. - Heinlein, Robert A. I Will Fear No Evil. Ace, 1987. - Heinlein, Robert A. The Moon is a Harsh Mistress. 1st Orb Books ed, 1997. - Heinlein, Robert A. Stranger in a Strange Land. Berkley, 1972. - Mieville, China. The City and the City. Del Rey Reprint ed, 2010. - Mieville, China. Embassytown. Del Rey, 2012. - Shakespeare, William. The Complete Works of William Shakespeare. MIT, 1993.

"If You Were a Dinosaur, My Love" by Rachel Swirsky -- originally published in Apex Magazine issue 46 March, 2013 Rachel Swirsky’s short stories have appeared in Tor, Subterranean Magazine, and Clarkesworld, and been reprinted in year’s best anthologies edited by Strahan, Horton, Dozois, and the VanderMeers. She holds an MFA in fiction from the Iowa Writers Workshop, and graduated from Clarion West in 2005. Her work has been nominated for the Hugo, the Sturgeon, and the Locus Award, and won the Nebula in 2010 for best novella. Her husband is a dinosaur fanatic, but if he turned into a dinosaur, he wouldn’t be a T-Rex. He’d be a Therizinosaur. This Apex Magazine Podcast was performed by Editor-in-Chief Lynne M. Thomas and produced by Erika Ensign. Music used with kind permission of Oh, Alchemy! Apex Magazine Podcast, copyright Apex Publications

E.C. Myers - author of "Fair Coin" and "Quantum Coin" - brings a veritable cornucopia of skills, perceptions, and aesthetics to his craft. His fiction is inventive and authentic, a offering a fresh and unpredictable (and immensely satisfying) feast for his readers. During this engaging 20(ish) minutes of craft discussion, E. C. explores the discovery of his distinctive authorial voice, the qualities and merits of YA fiction, his experience at Clarion West and so much more. No need to flip a coin... writerly goodness is a sure thing.

Eugene Myers was assembled in the U.S. from Korean and German parts. When he isn't writing, he reads, plays video games, watches films, sleeps as little as possible, and spends far too much time on the internet. he will be joining the show to chat about his debut YA novel "Fair Coin"    He currently lives in Philadelphia, where he is working on several young adult novels and a variety of short stories. In the rest of his imaginary leisure time, he edits the Clarion West alumni newsletter, The Seventh Week; blogs Star Trek Re-watch reviews with Torie Atkinson at TheViewscreen.com; co-moderates the GothamLit Yahoo group; critiques manuscripts; reads constantly; lurks on the internet; plays video games; and pursues other extracurricular activities that prevent him from getting enough sleep.