My second Eating the Fantastic conversation during StokerCon — following last episode’s chat with Arley Sorg — was with Kate Maruyama.

Kate’s is the author of Alterations and The Collective (both published in 2025), plus Bleak Houses (2023) and Harrowgate (2013). Her novella Family Solstice was named Best Fiction Book of 2021 by Rue Morgue Magazine. Her short work has appeared in numerous journals and anthologies including Analog and Asimov’s, and she’s a two-time Pushcart Prize nominee, plus winner of the Uncharted Short Story Prize. She served on the working board for Women Who Submit, and is currently on the Board of Directors for the Shirley Jackson Awards.

We discussed the way her love for the Golden Age of Hollywood began, the bribes her mother paid her so she’d write (and the reason she stopped paying), why abandoned short stories make marvelous prompts, the most important thing to teach about writing, how to decide which of her two 2025 Hollywood novels you should read first, the beauty of the novella form, the reasons she cut 100 pages from one of her recent novels, the difficulties in writing for theme anthologies, the 350-page novel she turned into a short story (and what she learned from the process), plus much more.

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Out in the real world, I find myself straddled between July’s Readercon and August’s Worldcon, but on Eating the Fantastic’s timeline, June’s StokerCon is just about to begin. My first guest of four from that Pittsburgh con is Arley Sorg. Arley’s an associate literary agent at kt literary, and long-time listeners will have previously heard me chat with him briefly during my 2017 Nebula Awards weekend lightning-round donut episode.

Arley’s a 2022 Kate Wilhelm Solstice Award recipient, a 2021 and 2022 World Fantasy Award finalist, as well as a 2022 Locus Award finalist for his work as co-Editor-in-Chief at Fantasy Magazine. He was a 2022 Ignyte Award finalist in two categories: for his work as a critic, and for his essay “What You Might Have Missed” in Uncanny Magazine.

He’s a senior editor at Locus, a reviewer for Lightspeed, a columnist for The Magazine of Fantasy and Science Fiction, and an interviewer for Clarkesworld. He was a guest critiquer for the 2023 Odyssey Writing Workshop and the week five instructor for the 2023 Clarion West Workshop. Plus he’s out there across social media promoting the philosophy writers should “never give up, never surrender” as much as I have.

We discussed the difficulty in getting the help you need as a beginning writer when you don’t know what you don’t know, the serendipity that got him a job at Locus, how to inhabit the community that is while envisioning the community that could be, why an agent might prefer in-person pitches over email, the importance of doing things without an agenda, the way we learned to deal with both rejecting and being rejected, how to make sense of the myths and rumors of science fiction publishing, why he feels comfortable in his role as an agent, plus much more.

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While shredding nearly 10,000 pages of my accumulated papers, I made several discoveries worth sharing, including memorable hate mail I received while writing Captain Marvel, multiple reasons I’m unqualified to write my own autobiography, a job application at Comico, why I refused to meet editors until after I’d already sold them stories, my unsuccessful score on a DC Comics proofreading test, four rejected Tales from the Darkside pitches which didn’t end up published in Elvira’s House of Mystery, and more.

You can hear me borne back ceaselessly into the past via the embed below or download the episode at the site of your choice.

Here are a few images related to a couple of the topics I mention this episode —

My first and favorite Captain Marvel hate mail

My Media Whore business card
and the reason why

At the 1974 D.C. Worldcon
with Carl Gafford, Paul Levitz, and Steve Gilary

A cover story which got me an unexpected gig at Tales from the Darkside

It’s time to say farewell to this year’s Balticon with the second of two conversations I recorded for you there, the first being last episode’s BBQ lunch with Mark L. Van Name. This time around you’ll eavesdrop as I chat and chew with award-winning writer Somto Ihezue, who at the time of our conversation was both a Nebula and Locus Award finalist for “We Begin Where Infinity Ends,” published last year in Clarkesworld. Ihezue went on to win the Locus Award for that novelette shortly thereafter.

He was also nominated in 2023 for a British Fantasy Award — the Sydney J. Bounds Award for Best Newcomer. His works have appeared or are forthcoming in Tor: Africa Risen Anthology, The Magazine of Fantasy & Science Fiction, Beneath Ceaseless Skies, Fireside Magazine, Podcastle, Escape Pod, Strange Horizons, Poetry Magazine, Cossmass Infinities, Flash Fiction Online, Nightmare, OnSpec Magazine, Omenana, Africa In Dialogue, Mothersound: The Sauútiverse Anthology, The Year’s Best Anthology of African Speculative Fiction, and others.

He’s also been involved on the other side of the writer/editor equation, as Acquiring Editor at Android Press and Associate Editor for Cast of Wonders.

We discussed why fireflies matter, how the social media algorithm led him to writing workshops, finding the courage required to write his award-winning story, why the literature of the fantastic is his chosen playground, how he brings the geography of his stories to life, the startling fact his first published short story was also the first he ever wrote, the way the Clarion workshop experience made his writing better, the importance of community, the way readers speak about his poetry vs. the way they speak about his prose, how his editing gigs helped make his own rejections less bothersome, plus much more.

Here’s how you can join us at R & R Taqueria — (more…)