Two Hugo Award-nominated podcasts collide in the fifth and final episode of Eating the Fantastic recorded during this year’s Eastercon. John Coxon and Alison Scott, two-thirds of the award-winning team behind Octothorpe (absent their equally entertaining cohost Liz Batty) took me on walkabout to a nearby Nando’s so I could experience its peri-peri chicken for the first time — and we recorded not just our meal, but the hikes there and back again.

We discussed the many first-time Eastercon attendees I encountered who were there due to their podcast, Nando’s place in British culture and why it was chosen to be our venue for this episode, what they’re willing to reveal about cohost Liz Batty in her absence, how the coming of COVID-19 kickstarted the creation of Octothorpe, why they didn’t launch an old-school fanzine instead, how the first episode wasn’t even originally intended to be the first episode, why we’re still here considering 90% of podcasts don’t make it past three episodes, how to comment responsibly on fandom while being a part of fandom, the reason their letters of comment section is so important, what changed about the show once they realized people were actually listening, advice for those who’d like to start podcasts of their own, plus much more.

Here’s how you can join us at Nando’s — (more…)

StokerCon kicks off three days from now in Pittsburgh, where I’ll be hanging out with friends, recording multiple new episodes of my Hugo Award-nominated Eating the Fantastic podcast, and pontificating on panels.

If you’ll also be attending, here’s where to find me —

Author Readings
Friday, June 5, 2026, 10:00 a.m.-10:50 a.m. (Fayette)
I haven’t yet decided which of multiple pieces I’ll share, so I might make the audience vote.
with John Kachuba and Jo Kaplan

Survival Guide for Horror Writers in an Age of Censorship and AI
Saturday, June 6, 2026, 9:00 a.m.-9:50 a.m. (Butler)
With the rise of censorship of creative work and scholarship, as well as online harassment and now the infiltration of AI, how can creatives protect themselves and fight back? Panelists discuss how to find hope, take care of their mental health, as well as strategies for protection and self-preservation in the current political climate.
with Jack LaRoche, Alma Katsu, Brandon Ketchum, David Simms, and Nicole M. Wolverton

Why Graphic Horror Matters: Horror Comics from E.C. Comics to Something is Killing the Children
Saturday, June 6, 2026, 4:00 p.m.-4:50 p.m. (Somerset)
No other mainstream genre of comic books has been as widely banned and panned than horror comics during the 100+ year history of the medium. From the infamous pre-code horror comics that led to a shocking incident of industry self-censorship to the boundary-pushing horror magazines of the 70s and 80s to to contemporary horror series that make horror one of the most popular comic book genres today, our panelists will discuss the history of sequential art scares and why these comics matter, from E.C. Comics to Something Is Killing the Children and beyond. Why do horror comics invite so much controversy and why do they persist in popularity against all odds?
with Clay McLeod Chapman, Christopher Golden, Justina Ireland, Francesca Maria, and James Tynion IV

You’ll also be able find me at the Opening and Closing Ceremonies, the Mass Autographing … as wandering the halls schmoozing.

If you do spot me, please say hi!

Out in the real world, I’m straddled between last weekend’s Balticon and next weekend’s StokerCon, but here on the Eating the Fantastic timeline, I’m still back attending Eastercon. So please join me in Birmingham and take your seat at the table for my dinner with John Jarrold.

Jarrold ran three science fiction and fantasy imprints in the UK since 1988, and over the years worked at Orbit Books, Macdonald Futura (now Little, Brown UK), Legend Books, Random House UK, Simon & Schuster, and others. Starting in 2002, he began acting as a script doctor for agents and new authors, and did freelance editing for publishers including Hodder & Stoughton, Random House, HarperCollins, Pan Macmillan, Transworld, Simon & Schuster, Orion/Gollancz, Constable & Robinson, and Time Warner. In 2004 he launched the John Jarrold Literary Agency, which he still runs today.

I could provide a list of the authors he’s worked with over the years, but it would make for a shorter list if I told you who he hasn’t worked with.

We discussed his first Eastercon 53 years ago, his “obsessive” love for J. R. R. Tolkien, the best commercial deal he ever did, how to dispassionately judge the writing of people you already know, his editorial encounter with Michael Caine, the bidding war over George R. R. Martin’s  A Game of Thrones, how he learned to write editorial revision letters writers would understand, the ways in which working with authors of science fiction is different than in the wider world of publishing, when it’s time for an author to reinvent themselves under a pseudonym, splitting one’s time between the business and artistic sides of publishing, what he means when he says getting published “is the jam on the bread, it’s not the bread,” the sorts of submissions he’s seeing too much and too little of at his agency, plus much more.

Here’s how you can join us at Brightsmith on the Water — (more…)

My guest this third of five conversations recorded last month during the UK national convention Eastercon is Charles Stross, an 18-time Hugo Award-nominated writer who’s won three times for his novellas. I’ve been reading him for nearly four decades, ever since his first Interzone short story publication in 1987, but he really blew me away with his 2001 Asimov’s novelette “Lobsters,” which seems to have made an impression on the rest of the world as well, for it went on to become the first of his stories to be nominated for a Hugo and a Nebula.

He’s also won Locus Awards for both Best Novel and Best Novella, and has been shortlisted for the Arthur C. Clarke Award. His novels have also won the Kurd Lasswitz and Italia Awards. The Regicide Report, the final book in his Laundry Files series, was released in January. His other series include Merchant Princess and the Singularity. Plus he’s got a whole new series in the works, one for which I got an advance peek, and you’ll hear us talk all about it in the conversation which follows.

We discussed the twelve “novel-shaped objects” he wrote before making his first professional sale, what changed in his life which meant instead of taking three years to write one novel he could write three novels in one year, why back at the beginning of his career he considered himself the “failure to launch” of the Interzone generation of writers (and how that changed), how to best take the temperature of critique group criticism, why it was time to wrap up his Laundry Files series (and who he had to become in order to be able to write that finale), the way the opening sentence of an as yet unfinished novel became the seed for a new series in progress, how his love for Harry Harrison’s Stainless Steel Rat novels ties into his next project, the evolving nature of convention-going for long-time attendees, and much more.

Here’s how you can join us at Cafe Soya — (more…)