I’m just back from the 80th World Science Fiction Convention — and I suppose I should point out it wasn’t my 80th Worldcon. Though I’ve been attending cons since I was 15, I’m not that old. Chicon 8 was merely — merely! — my 36th.

And I’ve brought back conversations for you with Wesley Chu, Carol Tilley, Eileen Gunn, Michael Swanwick, Oghenechovwe Donald Ekpeki, and Tim Waggoner. But what I haven’t brought back — at least as of this morning — is a case of COVID-19. Which as far as I’m concerned is a miracle, considering my anxiety levels going into the con.

But before we get to any of those six conversations, I’d like you have lunch with Max Gladstone. Max is perhaps best-known for his Craft Sequence of fantasy novels which began in 2012 with Three Parts Dead, continued in 2013 with Two Serpents Rise, and so far consists of six volumes, which considered as a whole were nominated for a Best Series Hugo Award. His interactive projects include the Choice of the Deathless and Deathless: The City’s Thirst, which both take place in the world of the Craft Sequence. With previous guest of the podcast Amal El-Mohtar, he wrote the internationally bestselling This is How You Lose the Time War, which was published in 2020 and won the Hugo, Nebula, and Ignyte Awards. Gladstone also created the Serial Box series Bookburners, and the interactive television series Wizard School Dropout. His most recent novel, Last Exit, was published in March.

We discussed what a Godzilla movie has to tell us about the way future art will likely deal with the pandemic, our differing ideas over what we mean when we say we’ve written another draft of a story, how we’d be willing to dispense with the art inspired by tragedy if we could only skip the tragedy as well, the differences between his early and final drafts of Last Exit, how to make us care equally when writing from multiple points of view (and how doing so could cause the reader to trust the writer even more), what it is about science fiction that attracts dystopias, how our dreams have changed due to COVID-19, what we get wrong when we write about civilizations lasting thousands of years, and much more.

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This episode’s conversation didn’t involve sneaking off from a convention — though it might have. That’s because I could have had lunch with David Ebenbach during Awesome Con as I did with previous guests of the show Patrick O’Leary and Sam J. Miller, but I didn’t see the point in trying to squeeze him into a busy weekend when he was a local writer and I was able to meet up with him any time. And so that’s what I did, heading into D.C. for lunch on the patio at the Glover Park Grill

David’s the author of eight books of fiction, poetry, and non-fiction, the most recent being his novel How to Mars, published last year by Tachyon Press, and the short story collection The Guy We Didn’t Invite to the Orgy and Other Stories, published in 2017 by the University of Massachusetts Press. His short stories have appeared in such genre markets as Asimov’s, Analog, and Not One of Us, but he’s also been published in such literary markets as the Kenyon Review, Iowa Review, and New England Review.

His writing has won him the Drue Heinz Literature Prize, the Juniper Prize, the Patricia Bibby Award, and other awards. He works at Georgetown University, teaching creative writing and literature at the Center for Jewish Civilization and creativity through the Masters in Learning, Design, and Technology Program, and promoting inclusive, student-centered teaching at the Center for New Designs in Learning and Scholarship.

We discussed the way he started writing science fiction without realizing he was writing science fiction, the final line of the worst thing he’s ever written, how his first scribbling as a kid was a violent spy novel about The Smurfs, why it’s important to root for an author and not merely our own reading experience, the cliches some in the literary and science fiction worlds believe about each other, the newspaper article which sparked his novel How to Mars, the way he’s managed to carve himself out a bifurcated writing life, the philosophical differences between those writing novels and short stories, and much more.

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