It’s time to return to Seattle for the second conversation I captured at Worldcon, following my soup dumpling lunch with Eugenia Triantafyllou. Now it’s time to head out for BBQ with John Picacio, one of the most acclaimed American artists in science fiction and fantasy during the past decade.

Picacio is the winner of three Hugo Awards, nine Chesley Awards, five Locus Awards, two International Horror Guild Awards, the World Fantasy Award, and the Inkpot Award. He’s created best-selling art for George R. R. Martin’s A Song of Fire and Ice series, the Star Trek and X-Men franchises, as well as over 150 book covers. His body of work features major book illustrations for authors such as Leigh Bardugo, Rebecca Roanhorse, Michael Moorcock, Harlan Ellison, James Dashner, Brenda Cooper, Frederik Pohl, Mark Chadbourn, Sheri S. Tepper, James Tiptree, Jr., Lauren Beukes, Jeffrey Ford, Joe R. Lansdale, and many, many more.

He is the founder of the creative publishing imprint, Lone Boy, which has become the launchpad for his Loteria Grande cards, a contemporary re-imagining of the classic Mexican game of chance. He is the founder of The Mexicanx Initiative. He’s the co-author — with Leigh Bardugo — and illustrator of The Invisible Parade, which released September 2, 2025, by Little, Brown for Young Readers.

We discussed how he’d never have gotten where he is today without comics, why he initially turned down what ended up being his first science fiction book cover (and what made him change his mind), the reason he thinks of a book as a person he needs to introduce at a party, whether he pays attention to the artists who preceded him when updating the look of a book, why one of the most important skills for a cover artist is listening, the catalyst for his creator-owned, self-published projects, how his style and his skills have changed over the years, how his recent collaboration with Leigh Bardgo began, why he’d rather be a marathon runner than a sprinter, how to avoid getting caught up in the trope of the year when it comes to cover art, the reason he launched the Mexicanx Initiative, how stabilization isn’t the same as stagnation, and much more.

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

It’s time to kick off a quartet of episodes recorded last month during the Seattle Worldcon, beginning with the award-winning writer Eugenia Triantafyllou.

Triantafyllou has been nominated for the British Fantasy, Hugo, Ignyte, Locus, Nebula, and World Fantasy Awards, and was on the Hugo Awards ballot that weekend for her novelette “Loneliness Universe,” published last year in Uncanny. Earlier this year she appeared on the Nebula Awards ballot twice, for both “Loneliness Universe” as well as “Joanna’s Bodies,” the latter of which was published in Psychopomp. 

Last year, she won the Shirley Jackson Award for her novelette “Six Versions of My Brother Found Under the Bridge” which also appeared in Uncanny. In addition to those venues, she has been published in Reactor.com, Lightspeed, Strange Horizons, Apex, Sunday Morning Transport, The Deadlands, and elsewhere. She’s a graduate of Clarion West Writers Workshop. 

We discussed the online prompt which caused her to write her first short story, why she ended up as a fantasy writer rather than a comic book creator, what it was like being nominated for two Nebula Awards the same year in the same category, the two types of naysayers who thought she’d never be able to write artfully in English, how she terrified Stephan Graham Jones with a tomato, why she never outlines, the reason voice is so important to her process, how a pantser handles world building, why she feels writing mysteries is easy, how her mother’s memories helped teach her storytelling, why writers shouldn’t steal ideas, but ambition,  and much more.

Here’s how you can join us at Din Tai Fung — (more…)

It’s time for Eating the Fantastic to say farewell to Readercon, as I invite you to take a seat at the table for the third and final conversation recorded for you there. You’ve already shared ramen with Mur Lafferty and Indian food with Karen Heuler, and it’s now time to tear into seafood tacos with Richard Butner.

Richard Butner’s short fiction has been published in such venues as Uncanny, The Deadlands, F&SF, Electric Velocipede, Crossroads: Tales of the Southern Literary Fantastic, Lady Churchill’s Rosebud Wristlet, and others. Many of those stories have appeared in Year’s Best Fantasy & Horror, been shortlisted for the Speculative Literature Foundation’s Fountain Award, and nominated for the Shirley Jackson Award. Those stories have also been collected in his books Horses Blow Up Dog City & Other Stories (2004) and The Adventurists (2022). He runs the Sycamore Hill Writers’ Conference, a long-running invitation-only workshop for writers of science fiction, fantasy, and related work, which was started by John Kessel, Mark Van Name, and Gregory Frost.

But fiction isn’t his only focus. He’s also written articles and reviews of hardware, software and websites for technology magazines such as IBM Think Research, Wired, PC Magazine, Yahoo! Internet Life, and Windows Sources, has written for and performed with the Little Green Pig Theatrical Concern (where he was a Writer-in-Residence), Aggregate Theatre, Bare Theatre, the Nickel Shakespeare Girls, Urban Garden Performing Arts, CAM/now, and Lost Immersive, and played in several bands, including the Angels of Epistemology, and/or, Etheroid and the Sacred Cows, and the Aqua Mules.

We discussed the early influence of Harlan Ellison, the time he went through the same trapdoor as Harry Houdini, which creative career he decided at age nine he was already too old to pursue, the paragraph from his recent collection I adored the most, the ways in which setting can be a character, why he defines his writerly self as being neither gardener nor architect but explorer, how he’s attracted to writing about the type of  characters Bruce Sterling once described as “criminally unemotional,” what ambiguity truly means and why it matters, how meeting John Kessel changed his life, and much more.

Here’s how you can join us for tacos at Burlington’s Border Cafe — (more…)

Last episode, my first from the 2025 Readercon, you were able to sit in for my ramen dinner with Mur Lafferty, and this time around, you’ll get to tag along with Karen Heuler for a vegetarian Indian lunch.

Karen Heuler has published more than 100 short stories, which have resulted in her being a two-time finalist for the Shirley Jackson Award, winner of an O. Henry award, and a host of other honors. Her short stories have appeared in Asimov’s, Clarkesworld, The Magazine of Fantasy & Science Fiction, Weird Tales, The Saturday Evening Post, Lady Churchill’s Rosebud Wristlet, Ms. Magazine, Daily Science Fiction, and dozens of other venues. Many of those stories can be found in her numerous collections, starting with The Other Door, which was published in 1995, and includes others such as The Inner City, which Publishers Weekly called “one of the Best Books of 2013,” Other Places (2016), The Clockworm and Other Strange Stories (2018), and her most recent one, A Slice of the Dark and Other Stories (2022). Her novels include The Made-Up Man (2011), Glorious Plague (2013) and her most recent The Splendid City (2022).

We discussed how she found herself embraced far more by the science fiction community than the literary one, why she never consciously thought about craft until she had to teach it, the “dud” novels she wrote before she got to the good ones, the students in her writing classes who only wanted to learn how to write bestsellers, why Bartleby the Scrivener seems to have a superpower, the reason she ended up writing science fiction rather than any other genre, the way in which she considers her short stories to be kittens, which character took over control of her most recent novel, the influence of The Master and Margarita, our mutual dislike of writer branding, where we fall on shredding vs. saving our archives, and much more.

Here’s how you can join us for ramen at Mehfil Indian Cuisine — (more…)

In the real world, I’m still haven’t fully recovered from last weekend’s Seattle Worldcon, but in Eating the Fantastic’s timeline, we’ve just arrived at the beginning of last month’s Readercon. And my first guest from the first night of that con is the multi-talented Mur Lafferty.

Mur Lafferty is an author and podcaster from Durham, NC. She’s been a podcaster since December 2004, working on such shows as I Should Be Writing, Ditch Diggers, Pseudopod, Mothership Zeta, Escape Pod, and others. Ditch Diggers (with Matt Wallace) won the 2018 Hugo Award for Best Fancast. Her longest running show is I Should Be Writing, which she’s been hosting and producing since 2005. All of those activities have also resulted in her winning the Podcast Peer Award, three Parsec Awards, and being inducted in 2015 into the Podcaster Hall of Fame.



And the awards have come for her writing as well, starting with her being the 2013 winner of the Astounding Award — then called the John W. Campbell  Award — for Best New Writer. She was the 2014 and 2015 winner of the Manly Wade Wellman Award for her novels The Shambling Guide to New York City and Ghost Train to New Orleans. Her 2018 clone murder mystery in space, Six Wakes, was a nominee for a Hugo, Nebula, Philip K. Dick, and Manly Wade Wellman Award in their novel categories.



Infinite Archive, the third book in The Midsolar Murders series — following Station Eternity (2022) and Chaos Terminal (2023) — was released in July. She’s also written Solo: A Star Wars Story, the writing workshop in a can I Should Be Writing, and so much more.

We discussed the problems which come from being a discovery writer who sells a novel via a pitch, how to play fair with readers of science fiction mysteries, the reason everyone’s worried she wants to kill her agent, one major difference between Hollywood and publishing, why the character she often thinks will end up being the murderer doesn’t end up being the murderer, how to deftly recap previous books in a series, whether going too weird might alienate a writer’s audience, what keeps her continuing to podcast after 21 years, the importance of shrugging off rejections, and much more.

Here’s how you can join us for ramen at Gyu-Kaku Japanese BBQ — (more…)

It’s time to say farewell to this year’s Nebula Awards weekend, following our lunch with Aimee Ogden and dinner with Curtis C. Chen.

This episode you’ll be able to eavesdrop on my lunch with Benjamin Rosenbaum, who’s been published in The Magazine of Fantasy & Science Fiction, Asimov’s Science Fiction, Harper’s, Nature, McSweeney’s Quarterly Concern, and many other venues, and as a result has been nominated for the Hugo, Nebula, BSFA, Sturgeon, and World Fantasy Awards. He’s the author of the short story collection The Ant King and Other Stories, and the Ennie-nominated Jewish historical fantasy tabletop roleplaying game Dream Apart.

His most recent novel is The Unraveling (2021), which first appeared in Germany three years earlier. The Ghost and the Golem, his 480,000-word Jewish historical fantasy interactive novel set amidst the pogroms of 1881, was a Nebula Award nominee in the category of Game Writing that weekend, so as you listen, you can think of Benjamin as Schrödinger’s nominee, existing in a state of many possibilities at once. He is also the co-host of the podcast Mohanraj and Rosenbaum Are Humans.

We discussed the perhaps true/perhaps whimsical reason he ended up in the science fiction field rather than literary publishing, why the story he found the most difficult to sell became his most-read work, how he gamified the submission/rejection process to get into Clarion, the way all stories set in the future are being read in translation, the reason he couldn’t write for a while after his first Nebula nomination, the moral and aesthetic reasons the story of Ghost and the Golem ended up as a game rather than a novel, why he believes “I am very much a child of Chip Delany,” the fascinating differences between the German and English versions of his novel The Reckoning, the intricacies of turning games into novels and novels into movies, and much more.

Here’s how you can join us for seafood at Earl’s Premier — (more…)

Last episode kicked off a run of Nebula Awards weekend conversations as you joined Aimee Ogden for lunch, and now our time together in Kansas City continues as you head out to dinner with Curtis C. Chen.

Curtis C. Chen’s debut novel Waypoint Kangaroo (which was a 2017 Locus Awards and Endeavour Award Finalist) is the first in a series of funny science fiction spy thrillers. That was followed by Kangaroo Too (which received a starred review from Publishers Weekly) and True Blue Kangaroo (a Smashwords bestseller for three months running). From 2008 to 2013, he posted a new flash fiction piece every Friday on a blog called “512 Words or Fewer.” 117 of those very short stories were collected in the book Thursday’s Children. His shorter works have appeared in Playboy, the ENNIE Award-winning Kobold Guide to Roleplaying, The Year’s Best Fantasy: Volume 2, Aliens vs. Predators: Ultimate Prey, and elsewhere.

He has written for the Realm original podcasts Echo Park, Ninth Step Murders, and Machina. His homebrew cat feeding robot was displayed in the “Worlds Beyond Here” exhibit at Seattle’s Wing Luke Museum. He is a graduate of the Clarion West and Viable Paradise writers’ workshops.

We discussed how he discovered Star Trek through the bars of his crib, how the super spystar of his Kangaroo trilogy was born, what it was like being critiqued by Pat Murphy and Ursula K. Le Guin when he was starting out, how taking voice acting lessons kickstarted his desire to write, the way to tell when it’s time to quit your day job (or not), how his nearly five-years-long flash fiction story-a-week project began, his creative solution for referencing the 20th century in his future series, an intriguing exercise for writers when watching TV shows based on the written word, why he went indie for the third book in his series, and much more.

Here’s how you can join us for BBQ at Buck Tui — (more…)

In the flesh and blood world, I’m about to head off for Readercon, but in the world of Eating the Fantastic, it’s instead the Nebula Awards weekend that’s about to begin, with the first of three conversations recorded last month in Kansas City.

My guest this episode is Aimee Ogden, whose short fiction has appeared in publications such as Lightspeed, Fantasy, Analog, Clarkesworld, and Beneath Ceaseless Skies. Her debut novella, “Sun-Daughters, Sea-Daughters”, was a 2021 Nebula Finalist, and just this year, she was once again a Nebula finalist for the novelette “What Any Dead Thing Wants.” Also, her short story “A Flower Cannot Love the Hand” was a finalist for the Eugie Foster Memorial Award in 2022. Her latest novella, “Starstruck,” was released in June She’s also is the co-founder, co-publisher, and former co-editor of Translunar Travelers Lounge, a speculative fiction magazine devoted to fun, optimistic stories.

We discussed the YA novel origins of her new novella and the way a watermelon radish gave birth to them both, whether we agree which of her characters therein will captivate readers the most, why she believes in “productive procrastination,” how having twins counterintuitively helped rather than hindered her writing output, our opposing views on plotting vs. pantsing, the Bible story she can’t stop thinking about, how she chooses the next best thing to write, her secret to writing successful flash fiction, how she was able to carry on in the face of rejection, why being an editor helped her become a better writer, which Ursula K. Le Guin quote she chose as a tattoo, and much more.

Here’s how you can join us for BBQ at Jack Stack Freight House — (more…)

It’s time to return one last time to Balticon 2025 by taking a seat at the table for the third and final conversation I wrangled for you there. You’ve chatted and chewed with Kemi Ashing-Giwa and Silvia Moreno-Garcia, now it’s time for lunch with Samantha Mills.

Mills is a multiple award-winning author living in Southern California. Her debut science fantasy novel, The Wings Upon Her Back, came out in 2024 and won the Compton Crook Award for best SFFH debut in 2025. Her short stories have appeared in Uncanny Magazine, Beneath Ceaseless Skies, Strange Horizons, Escape Pod, and other venues.

In addition to winning the Nebula, Locus, and Theodore Sturgeon Memorial awards for her short story “Rabbit Test” in 2023, Mills has also been nominated for the Pushcart Prize, made the Locus Recommended Reading List and the BSFA long list multiple times, and was included in the best-of anthologies The New Voices of Science Fiction and The Year’s Best Science Fiction & Fantasy 2023.

She graduated from the University of Santa Cruz with a B.A. in Pre- and Early Modern Literature, and received a Master’s in Information and Library Science from San Jose State University. In the other half of her life, she’s a trained archivist specializing in primary documents, with a particular focus on local historical societies. When she isn’t working, writing or taking care of children, she’s watching B-movies, binding books, and crocheting stuffed animals.

We discussed how the eighth novel she wrote became her award-winning debut novel, what she means when she says that novel was “kind of” outlined, the way fascism takes root in a society, the trickiness of writing a narrative with split timelines (and why she’s never doing it again), how being an archivist helped her write about a world where archiving matters, the secret to writing believable fight scenes, her technique for switching up writing time between novels and short stories, the early influence of Xena: Warrior Princess, how years of research resulted in her award-winning short story “Rabbit Test,” the way an early pregnancy test led to a worldwide frog apocalypse, navigating the difficulties of the modern short story market, the organizing principle of her upcoming collection, how she was able to power through her initial rejections, and much more.

Here’s how you can join us for lunch at Nick’s Fish House — (more…)

It’s time for you to take a seat at the table for the second of three episodes of Eating the Fantastic recorded during last month’s Balticon. You’ve already had lunch with Compton Crook Award-winning writer Kemi Ashing-Giwa — and now it’s time for breakfast with Silvia Moreno-Garcia.

Moreno-Garcia is the author of a number of critically acclaimed novels, including Gods of Jade and Shadow (winner of the Sunburst Award for Excellence in Canadian Literature of the Fantastic and the Ignyte Award), Mexican Gothic (which won the Locus Award, British Fantasy Award, Pacific Northwest Book Award, Aurora Award, and Goodreads Award), and Velvet Was the Night (a finalist for the Los Angeles Times Book Prize and the Macavity Award), plus many others. She writes in a variety of genres including fantasy, horror, noir and historical. 

Her short stories have appeared in such magazines as Uncanny, Lightspeed, Nightmare, Giganotosaurus, and Shimmer, and in such anthologies as The Mammoth Book of Cthulhu: New Lovecraftian Fiction, New Suns: Original Speculative Fiction by People of Color, Gods, Memes and Monsters: A 21st Century Bestiary, and others. She has edited several anthologies, including She Walks in Shadows (a World Fantasy Award winner, published in the USA as Cthulhu’s Daughters). Her most recently published novel is The Seventh Veil of Salome, set in 1950s Hollywood, and a new novel, the multigenerational horror saga The Bewitching, is due out next month.

We discussed how short stories helped her find her voice, the way a gross dream combined with a teen cemetery trip led to Mexican Gothic, her love for abandoned places, why she found Madame Bovary startling when she read it in high school, how to successfully write genres in which the reader is more aware of the tropes than the protagonist, the beauty to be found in flawed characters, how to make sure parallel storylines are equally interesting, one technique she admits doing which makes multiple types of reader angry, the difficulty of resisting branding, the reason the term magic realism is overused, and much more.

Here’s how you can join us for lunch at Baltimore’s Papermoon Diner — (more…)