Out in the real world, DisCon III, the 79th World Science Fiction Convention, is two months behind us in the rearview mirror … but here at Eating the Fantastic, it goes on. And now that you’ve eavesdropped as I’ve chatted and chewed with José Pablo Iriarte, Fonda Lee, and Usman T. Malik, it’s time for you to join Daryl Gregory and me as we have lunch at Dolan Uyghur restaurant.

Daryl Gregory’s first novel, Pandemonium (2008), won the Crawford Award and was nominated for a World Fantasy Award. His novella We Are All Completely Fine (2014) won the Shirley Jackson Award and the World Fantasy Award. His short story collection Unpossible and Other Stories was named one of the best books of 2011 by Publishers Weekly. His novel Spoonbenders (2017) was a Top 20 Amazon Editor’s Choice, an Audible.com’s editors choice for the year, and an NPR best book of the year. His most recent novel is Revelator, which was published last August. His comics work includes Planet of the Apes, The Green Hornet, Dracula, and the graphic novel The Secret Battles of Genghis Khan.

If you’d like a tiny taste of Daryl before taking a seat at the table for our full meal, check out what he had to say while eating a raspberry coffee cake donut during the 2018 Nebula Awards weekend.

We discussed how he celebrated the two books he published during the pandemic, what caused him to say about his latest novel, “I like to split the difference to keep everyone as unsatisfied as possible,” the narrative technique which finally unlocked the writing of that book (and why it made Revelator more difficult to complete), how our mothers responded to our writing, the way marketing affects the reading protocols of our stories, how listening to Damon Knight and Kate Wilhelm argue about one of his stories freed him as a writer, the promise a murder mystery makes to a reader, his “Mom Rule” for Easter eggs, the way he tortured a comic book artist with an outrageous panel description, how to play fair when writing a science fiction mystery where anything can happen, what Samuel R. Delany told him which helped him make his first sale to F&SF, how he doesn’t understand why everybody doesn’t want to be writers, the way his writing gets better during the times he isn’t writing, Gardner Dozois’ “ladder of sadness,” and much more.

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After pizza with José Pablo Iriarte and Eggs Benedict with Fonda Lee, Eating the Fantastic’s culinary conversations at DisCon III, the 79th World Science Fiction Convention continue with an excursion for Thai food — and a tasty chat courtesy of Usman T. Malik.

Usman T. Malik won the British Fantasy Award for his novella The Pauper Prince and the Eucalyptus Jinn, which was also nominated for both the World Fantasy and Nebula Awards. His story “The Vaporization Enthalpy of a Peculiar Pakistani Family” won the Bram Stoker Award for Short Fiction. His stories have been published in such magazines as Strange Horizons, Black Static, Nightmare, and Tor.com, as well as anthologies such as Black Feathers: Dark Avian Tales, The Mammoth Book of Cthulhu: New Lovecraftian Fiction, Final Cuts: New Tales of Hollywood Horror and Other Spectacles, and others. His collection Midnight Doorways: Fables from Pakistan, was published in 2021.

We discussed why the first pandemic year was his most prolific period ever as a writer, how the Clarion Workshop helped him decide what kind of writer he wanted to be, our shared concerns over revising our early stories, the way his medical training gives him an intriguing advantage as a writer, how every love story is a ghost story and every ghost story is a love story, what it was like running Pakistan’s first science fiction writing workshop, why he prefers Stephen King to Dean Koontz (and what that taught hm about his own writing), the cautionary tale told to him by Samuel R. Delany, how writers teach readers the way they should be read, and much more.

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The Omicron surge is making me fear for my participation in future conventions, but that doesn’t erase the fun I had in D.C. last month during DisCon III, the 79th World Science Fiction Convention. I recorded five episodes of the podcast that weekend, the first of which was last episode’s pizza dinner with José Pablo Iriarte. This time around I invite you to join me for breakfast with the award-wining writer Fonda Lee.

Fonda Lee won both a World Fantasy Award and an Aurora Award for her novel Jade City, which was also nominated for Nebula, Seiun, and Sunburst Awards. That first installment of her Green Bone Saga, an epic urban fantasy, was followed by Jade War, which was nominated for both the Dragon and Aurora Awards. Jade Legacy, the third book in her series, was released in November of 2021. Her young adult novels Zeroboxer and Exo were both Andre Norton Award finalists. She holds black belts in karate and kung fu, which probably came in handy when it was time for her to write Shang-Chi for Marvel Comics.

Because Fonda is a fan of Eggs Benedict, we headed to the Lafayette restaurant in the Hay Adams Hotel, where I’d been informed by Tom Sietsema of the Washington Post we could find an excellent incarnation of that dish.

We discussed what it was like finishing the final book in her Green Bone Saga trilogy during the pandemic, her secret for keeping track of near 2,000 pages of characters and plot points, why every book project is terrifying in its own way, how much of the ending she knew at the beginning (and our opposing views on whether knowing the ending helps or hurts the creative process), the warring wolves inside her as she writes the most emotionally difficult scenes, why she starts to worry if her writing is going too smoothly, the framing device that became far more than a framing device, why her natural length for processing ideas is the novel rather than the short story, and much more.

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Welcome to the first of five Eating the Fantastic episodes recorded during DisCon III, the 79th World Science Fiction Convention, which ended just a few days ago as this episode goes live. That recent event was quite a nostalgia fest for me, because the first time I attended a Worldcon was in 1974, the last time one was in held in D.C. I was only a teenager in that long ago year, but even then, I already knew — getting together with good friends over good food to yammer with them about science fiction was as much fun as anything offered by the official convention programming.

My dinner companion the first night of the D.C. Worldcon was José Pablo Iriarte, a Cuban American author of science fiction, fantasy, and children’s fiction. Their novelette, “The Substance of My Lives, the Accidents of Our Births,” was a finalist for the Nebula Award and was long-listed for the James Tiptree, Jr. Literary Award. Their short fiction has appeared in Lightspeed, Strange Horizons, Fireside Fiction, Daily Science Fiction, Escape Pod, and many other venues, stories which have then been spotlighted on best-of lists assembled by Tangent Online, iO9, and others.

When Jose told me one of his favorite foods was pizza, I knew I had to feed them D.C.’s best, leading me to 2Amys, which Thrillist says prepares “near-perfect, delicate pies with bubbly crusts, fresh mozzarella, and fragrant basil. The Margherita is the baseline against which all Neapolitan pies in DC are judged.”

We discussed their go-to karaoke song, why being a math teacher makes it even harder to write about math, what they learned from Speaker for the Dead, how their feelings about Orson Scott Card help them empathize with those struggling over J.K. Rowling today, why they trunked their favorite story until a friend convinced them to send it out, their method for writing successful flash fiction, why they had no problem keeping their Nebula nomination a secret, how to create a good elevator pitch, and much more.

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This episode’s guest, Bob Budiansky, is a old Marvel Bullpen pal — but our relationship goes back much further than that. We met when we both attended the State University of New York at Buffalo and worked together on the student newspaper The Spectrum. I wrote news and feature stories, while he illustrated many of the articles which appeared in the paper, sometimes as many as three per issue, including, occasionally, mine.

Later, when I was working at mid-’70s Marvel Comics and decided I no longer wanted to edit their line of British reprint books, I got yet another SUNY Buffalo student and newspaper coworker, Jay Boyar, to take my place, and then when he moved on, he recommended Bob. And that serendipity is how his 20-year career at Marvel Comics was born.

Bob’s led a multifaceted comics career as a writer, artist, and editor. He’s written (among other things) The Avengers and all 33 issues of Sleepwalker, a character he co-created, plus most of Marvel’s run of The Transformers, for which he came up with the names of most of the original Transformers, including Megatron. In fact, his contributions to that franchise were so great that in 2010 he was inducted into the Transformers Hall of Fame.

As an artist, not only did he draw Ghost Rider and Prince Namor, the Sub-Mariner, but more importantly (to me, anyway), a Falcon story I wrote which appeared as a back-up in an issue of Captain America. As an editor, he was at times responsible for the Fantastic Four, Daredevil, and Spider-Man.

We had dinner at The Helmand, a Baltimore restaurant which has been serving Afghan cuisine since 1989. I learned about the place from former guest of the podcast Fran Wilde, who introduced it to me during a long-ago Balticon.

We discussed the vast differences between the hoops we each had to jump through to get hired back then, why the Skrulls were responsible for him liking DC better than Marvel as an early comics fan, the serendipitous day he attended a wedding and learned the origin of the Golden Age Green Lantern from its creator, why he stopped reading comics in high school … and how Conan the Barbarian got him started again, which Marvel Bullpen staffer saw his art portfolio and suggested he consider a different career, what it was like to witness the creation of Captain Britain, how got his first regular gig drawing covers for Ghost Rider, his five-year relationship developing 250 Transformers characters for Hasbro, and much more.

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Welcome to the second episode of Eating the Fantastic during which you’ll be able to take a seat at the table for a meal during last month’s incarnation of Rockville, Maryland’s Capclave, following last episode’s lunchtime get-together there with writer Suzanne Palmer. This time around, you’re invited to dinner with science fiction writer Lawrence M. Schoen.

Lawrence M. Schoen was a finalist for the 2007 Astounding Award for Best New Writer, and in the years since has been nominated for the Hugo Award (once), the Washington Science Fiction Association Small Press Award (twice), and the Nebula Award (six times). He’s twice won the Cóyotl award for Best Novel — for two books in his critically acclaimed Barsk series: The Elephants Graveyard (2015) and The Moons of Barsk (2018). He also was the 2016 winner of the Kevin O’Donnell Jr. Service to SFWA Award.

His most well-known creations are the space-faring stage hypnotist, the Amazing Conroy, and his alien animal traveling companion, a buffalito named Reggie who can eat anything — which he then converts into oxygen via … flatulence. For more than 10 years, he’s hosted the Eating Authors series, which has shared the most memorable meals of more than 500 writers. In addition to all that, he founded the Klingon Language Institute, plus is a hypnotherapist specializing in authors’ issues.

We discussed how he was able to release 12 books in a difficult year affected by both a pandemic and chemo, the pseudonym he was relieved he never had to use, what caused him to say “you find the answers to the problems of your life by writing a story about it,” the RPG improv which led to the creation of his Barsk universe, what he learned at the Taos Toolbox workshop which caused him to completely rewrite one of his books, the all-important power of the subconscious, how transcription software affected his style, why he doesn’t want people to read the final paragraph of his second Barsk novel, his relationships with the indie side of publishing, the many joys of mentoring, how he uses hypnotism to help other writers, and much more.

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Six years ago, I started inviting you to tag along with me for culinary conversations during conventions, though the events of 2020 forced me to switch things up so the chatting and chewing often occurred with hundreds, and sometimes thousands, of miles between me and my guests.

But we’re slowly moving on to whatever our new normal will turn out to be, which means this episode, you’ll get to come with me as I attend my first true convention in nearly two years — last month’s Capclave in Rockville, Maryland. I was able to harvest two con conversations for you there, something I haven’t been able to do in far too long — the first, this episode’s lunch at Mykonos Grill with Suzanne Palmer.

Suzanne Palmer is a multi-award-winning science fiction writer. Her novelette “The Secret Life of Bots” won a Hugo Award in 2018, as well as the Washington Science Fiction Association Small Press Award, plus her story “Waterlines” won the 2020 Theodore Sturgeon Memorial Award. She’s published three novels with DAW Books about an interstellar repo man — her debut novel Finder in 2019, followed by Driving the Deep (2020) and The Scavenger Door (2021).

Her love of narrative science fiction extends beyond the written word, for when she was obtaining her Bachelors degree of Fine Arts in sculpture from the University of Massachusetts at Amherst, her thesis exhibition consisted of an entire museum of artifacts from a fictional world, including clothing, coins, furniture, manuscripts — and an 8′ tall horned creature covered with fur. I found that part of her background, unknown to me until I started preparing for my conversation, fascinating, since as longtime listeners know from my interview with the team at Submersive Productions in Episode 86, I love immersive theater.

We discussed her recurrent dreams of accidentally impaling someone with her Hugo Award trophy during the ceremony, the Ray Bradbury story she copied out of a library book by hand word for word as a child, the differences between The Hobbit and The Lord of the Rings (and why some readers have difficulties with the latter), the way a friend’s urgings she do NaNoWriMo caused her to take her writing more seriously, the spark that gave birth to her interstellar repo man Fergus Ferguson, how the pandemic affected the writing of her latest novel, and much more.

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Readercon, which I’ve been attending since the first in 1987, went virtual this year, meaning a meal I’d have recorded during an outing in Quincy, Massachusetts also went virtual. And so the award-winning E. Lily Yu and I each ordered kabob from local restaurants, and nibbled our take-out remotely as I questioned her about how she spins magic out of her words.

E. Lily Yu won the Astounding Award for Best New Writer in 2012. Her short story “The Cartographer Wasps and the Anarchist Bees” was published in Clarkesworld in 2011, and was nominated for the Hugo Award for Best Short Story and the World Fantasy Award for Best Short Fiction. Her short fiction has appeared in Fantasy and Science Fiction, Uncanny, Apex, Lightspeed, and many other venues. Her work has been reprinted in twelve best-of-the-year anthologies, including The Year’s Best Science Fiction, The Best Science Fiction and Fantasy of the Year, The Best Dark Fantasy and Horror, and The Best American Science Fiction and Fantasy. Her first novel, On Fragile Waves, was published in February by Erewhon Books.

We discussed why she was glad that when she first came up with the idea for her novel On Fragile Waves she had no idea how long it would take to complete, what she learned through each successive draft of the novel before she was satisfied, why it can be exhausting to see people as they are rather than as you want them to be, the effort required to make the effortful appears effortless, the reasons rejection can be a blessing (especially during the early part of your career), what she learned reading slush for Fantasy magazine, how writing interactive video games helped her write better short stories, and much more.

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It’s time to return to Washington, D.C. for my second episode recorded during this year’s AwesomeCon, following last episode’s chat with Renee Witterstaetter.

This time around, you’ll get to eavesdrop on my chat with Sam Maggs, a writer with whom I share an artistic bond, even though we’re from entirely different generations of comic book creators.

That’s because Sam wrote the adventures of the she/her Captain Marvel in 2019 — 42 years after I wrote about he/him Captain Marvel in 1977. She’s also written comics about Jem and the Holograms, Rick & Morty, My Little Pony, Transformers, and Invader Zim. She’s published pure prose as well, including her first book The Fangirl’s Guide to the Galaxy, and the young adult novel The Unstoppable Wasp: Built on Hope. Her games writing includes Spider-Man: The City that Never Sleeps, Ratchet & Clank: Rift Apart, and many others.

We discussed the Stargate SG-1 convention that was her gateway drug for fandom, why her debut comic book story turned out to be a Star Trek tale, the way the arcs of our careers ran in completely opposite directions, what it was like releasing six books during a pandemic, how The Fangirl’s Guide to the Galaxy was born though complete serendipity, the audition that got her the gig to write an Unstoppable Wasp novel, how she dreamed up her pitch for Captain Marvel, and much more.

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Come along with me to D.C.’s AwesomeCon for dinner with writer, editor, and colorist Renée Witterstaetter at Chinatown’s New Big Wong restaurant.

Witterstaetter started her comics career as an assistant editor at DC Comics working on the Superman books. She later worked at Marvel Comics on Silver Surfer, Conan, Guardians of the Galaxy, and other titles. In addition, she spearheaded the reintroduction of She-Hulk at Marvel, where she actually appeared in the comic!

But she’s much more than only comics, as you’ll soon learn.

We discussed how Jerry Lewis launched her interest in comics, the way science fiction fandom led to her first job at DC Comics, the differences between the Marvel and DC offices of the ’70s and ’80s, what made Mark Gruenwald such an amazing editor, her emotional encounter with Steve Ditko, the inflationary info we learned about the writing of letter columns during the ’70s and ’80s, her work with John Byrne on She-Hulk, how Jurassic Park caused her to leave Marvel, the prank Jackie Chan asked her to help pull on Chris Tucker, and much more.

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