I should be on my way to Wellington, New Zealand right now to attend CoNZealand, the 78th World Science Fiction convention, during which I’d planned to dine with friends and then share our conversations with you. But alas, that’s not happening, and I’m sure I don’t need to explain why.

But at the urgings of some of my Patreon supporters, I’ve decided to break bread anyway with some of the creators I’d intended to record with had I made it there, only with 16 hours and thousands of miles separating us. So last night, I had dinner with writer Lee Murray, while she had lunch the following day.

Lee is a three-time Bram Stoker Awards finalist, and is also New Zealand’s most awarded writer and editor of fantastic fiction, having won two Australian Shadows and a dozen Sir Julius Vogel Awards. Her novels include The Battle of the Birds (2011), Dawn of the Zombie Apocalypse (2019), as well as Into the Mist (2016), Into the Sounds (2018), Into the Ashes (2019), and others.   She’s edited fourteen anthologies, including Baby Teeth: Bite-Sized Tales of Terror (2013), Hellhole: An Anthology of Subterranean Terror (2018), and others.  Her first collection, Grotesque: Monster Stories, will be published July 24.

We discussed how she crafted her first short story collection, the importance of mentoring our next generation of genre writers, why we’re unlikely to ever go spelunking together, whether she prefers her zombies fast or slow, the unique awards club of which we’re both members, the way her use of New Zealand culture might be perceived differently by readers in and out of her country, the difficulties some seem to have with stories written in the present tense, the thrill of being the first New Zealander to appear in Weird Tales magazine, how the experiences of reading aloud The Hobbit and The Lord of the Rings differ, and much more.

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Two episodes ago, we sheltered in place together as I ate lunch and answered 33 questions from listeners and former guests of Eating the Fantastic. Since it’ll be awhile before the convention circuit starts up again and restaurants are back in business, I decided to once more invite you into my home to join me for a meal.

After all, my original call for questions had yielded 95 of them, and there was no way I was going to let that meat go to waste!

So after having roasted up a pork butt and assorted vegetables, I pulled together a plate and attempted to answer as many as I could while (metaphorically) breaking bread with you.

This time around, I managed to get through 30 questions from Kaaron Warren, George R. R. Martin, Cheryl Morgan, Paul Kirchner, Lynne Hansen, Barry N. Malzberg, Rachel Pollack, Sarah Pinsker, Victoria Janssen, Erik T. Johnson, Glenn Ricci, Patrick Freivald, Tom Doyle, Daryl Gregory, Faye Ringel, Michael Dirda, Bud Sparhawk, Kelly Robson, Greg Bossert, K. M. Szpara, Sam J. Miller, Nalo Hopkinson, Sunny Moraine, and Paul Levitz.

I talked about my early days in the Marvel Comics Bullpen, the many things legendary editor Gardner Dozois and I shoved up our noses, when my food and fandom interests began to overlap, what I would have said to Harlan Ellison had I been in Barry Malzberg’s shoes, whether experiencing personal tragedy helps or harms a writer, the cognitive dissonance I feel about comics having taken over the world, which character caused me to start writing (hint: it was Conan the Barbarian), what I wishes I knew less about, who I was the most thrilled to have met in my life, whether I still get a kick out of my favorite childhood treats, what a terrible collaborator I am, and much, much more.

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Since restaurants began closing down and social distancing became the sensible thing to do for my health, the health of potential podcast guests, and the health of the herd, listeners have been suggesting I consider recording episodes of Eating the Fantastic remotely … and I’ve resisted. Because my purpose here is to share the magical, intimate, relaxed conversations which occur best when people are chatting face-to-face over a table filled with food. That’s why last episode, I ended up letting you ask me the questions.

But then it occurred to me — there’s one person on the planet — and only one — with whom I was willing to record remotely. And that person is Sarah Pinsker, my guest on Episode 1 of this podcast four years and two months ago. I intended to catch up with her in meatspace anyway all these years later, but suddenly it felt right for us to chat in cyberspace.

The reason I felt that way is due to her wonderful debut novel, A Song for A New Day, which was published in September 2019. It’s set in a near future where due to a terrorist attack and an accompanying pandemic, all mass gatherings are banned — no concerts, no sporting events, no ways for people to come together the way people have done since the beginning of time — and we’re instead only allowed to meet in VR. So meeting up with Sarah remotely made artistic and poetic sense — because it would almost be as if we were living in the world of her novel.

Since that first episode, Sarah’s short story collection Sooner or Later Everything Falls into the Sea was published in March of last year by Small Beer Press. It includes many award-nominated and award-winning stories, including her Theodore Sturgeon Memorial Award-winning “In Joy, Knowing the Abyss Behind,” and her Nebula Award winner “Our Lady of the Open Road.” The collection as a whole was recently awarded the Philip K. Dick Award. 


Her novel A Song for a New Day is currently a finalist for this year’s Nebula Award. She’s also a Hugo Award finalist for Best Novelette for “The Blur in the Corner of Your Eye,” published last year in Uncanny Magazine.

We discussed how relieved she was her pandemic novel A Song for a New Day was published in 2019 rather than 2020, why she originally wrote that book in a song format (and why that had to change), how she loves being surprised by her own characters, why neither of us can bear listening to music while we write, the extremely scientific, color-coded process she came up with for organizing her first short story collection, how one of her favorite fictional tropes led to the creation of the original story she wrote specifically for that collection, why the thing that most interests her is the way people cope with what’s put in front of them rather than why those things happen, the reason she prefers leaving interpretations to readers rather than providing answers, her terrible habit when reading collections and anthologies, how she’s coping with the surreal feeling of living in the world of her novel, and much more.

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It’s been exactly one month since I joined Michael Dirda for lunch to record an episode of Eating the Fantastic, and the way things are going in this age of social distancing, it will likely be many more months before I’ll be able to sit down at a restaurant with a guest to record another. The three episodes I’d planned to harvest for you during the final days of March all had to be cancelled. So what’s a podcast predicated on breaking bread to do when bread can no longer be broken?

What it means for this episode is that it’s time for the interviewer to become the interviewee, as you join me for lunch in my kitchen while I continue to shelter in place. Last episode, I asked listeners to send in questions for things which might not have been revealed about my life as a writer, editor, publisher, podcaster, and fan during the previous 118 episodes. I also reached out to my former guests to see if they’d like to turn the tables and ask questions instead of just answering them.

I ended up with 93 questions, which I knew was far more than I’d be able to answer in a single episode. But I printed them, folded them up, tossed them inside the head of a Roswell alien, and then pulled them out randomly one at a time and tried to answer as many as I could over the course of my meal.

I managed to get through 33 of them, including questions from Lucy A. Snyder, Maura McHugh, T. E. D. Klein, Brian Keene, Ramsey Campbell, Pat Cadigan, Ellen Klages, Matthew Kressel, Norman Prentiss, Lisa Tuttle, Nalo Hopkinson, Robert Reed, K. M. Szpara, Linda Addison, Stephen Kozeniewski , Amal El-Mohtar, Lynne Hansen, James Morrow, Erik T. Johnson, Steve Rasnic Tem, A. M. Dellamonica, Resa Nelson, Sam J. Miller, Fran Wilde, Paul Di Filippo, Cecilia Tan, Kaaron Warren, and Jeffrey Ford. (Whew!)

Over the course of my meal, I shared about my love for The Twilight Zone (and the negative effect it had on me as a beginning writer), the origins of the Scarecrow character I created for Marvel in 1975, what it was like editing a professional wrestling magazine, whether the difficulties I faced in getting my Lambda Award-nominated novel The Gift published during the ‘80s still hold true today, the embarrassing things I wishes I hadn’t done as editor and publisher of Last Wave magazine, how it felt seeing one of my comic book creations on the big screen in Captain Marvel, my opinion on the James Tiptree Jr. Award controversy, and much more.

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Early this week, before it occurred to me that leaving the house to break bread might not be the wisest thing to do considering the times in which we live, I headed to Silver Spring, Maryland for lunch with Michael Dirda at All Set restaurant. Luckily, you won’t have to risk contagion from the coronavirus to take a seat at the table and eavesdrop on our conversation.

Michael is a Pulitzer Prize-winning columnist for The Washington Post Book World with a special love for genre fiction. He’s the author of the memoir An Open Book, plus four collections of essays: Readings, Bound to Please, Book by Book and Classics for Pleasure. Since 2002, he’s been a member of the Baker Street Irregulars, and his book On Conan Doyle was awarded the 2012 Edgar Award in the Best Critical/Biographical category. He’s currently at work on The Great Age of Storytelling, an appreciation of British popular fiction of the late 19th and early 20th centuries. 

We discussed the convention at which he thought he was about to be punched out by Harlan Ellison, the book he wants to write but which he realizes he could probably never publish, how discovering E. F. Bleiler’s Guide to Supernatural Fiction opened a whole new world for him, whether he faced judgment from his peers for believing Georgette Heyer is as important as George Eliot, why he wants to be buried with a copy of The Count of Monte Cristo, how Beverly Cleary’s Henry Huggins is like a Proustian madeleine, the way he navigates the tricky act of reviewing the fiction of friends, the word he used which annoyed Gene Wolfe, and much more.

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The 27th incarnation of the Farpoint convention was held in Hunt Valley, Maryland last weekend, and I couldn’t pass up the opportunity to steal away with an old friend for a meal, the same way I did two years ago when I took David Mack out for a Persian dinner.

My guest this time around was Keith R.A. DeCandido, who has written novels and short stories in so many franchises — more than 30, including Star Trek, Buffy the Vampire Slayer, Doctor Who, Supernatural, Stargate SG-1, Farscape, and on and on — that a decade ago he was named Grandmaster by the International Association of Media Tie-In Writers.

He writes fiction in his own worlds as well, including multiple novels and short stories in the Dragon Precinct series, a police procedural set in a high fantasy universe. He also writes reviews and essays for tor.com, including his popular rewatches of multiple Star Treks, Stargate SG-1, and other series. And those are just a few of his facets, which include music, martial arts, and more.

We brunched at Iron Rooster, where you can have breakfast all day — which is what we did, me with chicken and waffles, Keith with biscuits and sausage gravy.

We discussed how the kids TV show The Electric Company made him a Marvel fan, the serendipitous way he sold his first short story (and how it was all thanks to Spider-Man), what we each learned from working with Stan Lee, how he was given the chance to write his first novel in lieu of a raise, which of the more than 30 franchises he’s written tickled his inner child the most, whether the bias against writers of tie-in work has lessened, the novel which put more money in his pocket than any other, what surprised him the most during his Next Generation rewatch, the debt he owes fan wikis, his advice on crowdfunding and for those who want to join him in the world of tie-in writing, plus much more.

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My latest lunch on which you get to eavesdrop is with John Edward Lawson, the author of 16 books of fiction and poetry, plus numerous chapbooks. His short stories have been collected in such titles as Pocketful of Loose Razorblades, Discouraging at Best, and most recently Devil Entendre, while his poetry can be found in multiple titles, including The Plague Factory, The Scars Are Complimentary, Bibliophobia, and the Bram Stoker Award finalist The Troublesome Amputee.

He’s the founding editor of Raw Dog Screaming Press, which was given a Specialty Press Award by the Horror Writers Association in 2019. He currently serves as vice president of Diverse Writers and Artists of Speculative Fiction, and also manages the Broadkill Writers Resort, which he founded in 2016.

We met for lunch recently on a rainy day in Washington D.C. at Dolan Uyghur restaurant. It was my first taste of Uyghur cuisine, and I was quite impressed, particularly by the hand pulled noodles in my Laghman.

We discussed the birth of the bizarro horror subgenre (and the surprisingly democratic way in which it was named), the reason Alien both repelled and attracted him, how trying to sell screenplays led to him publishing his first short fiction instead, the story of his which was the most emotionally difficult to write, how he won a poetry award only after giving up on poetry, the unexpected gift he was given when starting his own publishing company, his initial doubts about naming his press Raw Dog Screaming, how he survived the 2008 financial meltdown which sank so many small presses, why he loves watching people bicker, the reason he became known as “the forgotten black man of horror,” and much more.

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Hungry for good food and good conversation? Then join me and Alexandra Erin for lunch at The Grille at Runways in Hagerstown, Maryland on the latest episode of Eating the Fantastic.

Alexandra’s an always entertaining writer who was presented with an Alfie Award by George R. R. Martin at the Kansas City Worldcon for her often satirical fan writing, which includes such works such as John Scalzi Is Not A Very Popular Author And I Myself Am Quite Popular: How SJWs Always Lie About Our Comparative Popularity Levels.

Her ongoing fantasy serial, Tales of MU, is up to several million words, though even she’s uncertain of its current length. Her short stories have been collected in The Land of Passing Through (published in 2014) and First Dates, Last Calls (2019). Her Twitter feed has become extremely popular since 2016 for her incisive political commentary.

We discussed the way Mark Twain gave her permission to comment satirically on science fiction, the thoughts which went through her mind the night George R. R. Martin handed her that Alfie Award, her preferred role when playing Dungeons and Dragons, how she knew her Tales of MU saga was meant to go on for several million words, the way in which she’s transformed herself into a cyborg, how she knows when an idea is a poem vs. a short story vs. a serial, the one question I felt I could not ask her, advice for how not to get caught up in social media controversies, and much more.

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My guest for the first Eating the Fantastic episode of 2020 is Leslye Penelope — who publishes as L. Penelope. She started out as a self-published author, and her debut fantasy novel Song of Blood & Stone was so successful it was later picked up by St. Martin’s Press. That book earned (among other things) the 2016 Self-Publishing EBook Award from the Black Caucus of the American Library Association, and after being republished and brought to a wider audience, named as one of TIME magazine’s top fantasy books of 2018. She has since published two sequels, Breath of Dust & Dawn and Whispers of Shadow & Flame. Additional installments in the series are forthcoming.

We got together for lunch in Columbia, Maryland at The Turn House — because I’d heard about chef Thomas Zippelli, who has put in time at both the French Laundry and Eleven Madison Park, and wanted to check the place out. It turned out to be worth the visit for the porchetta alone.

We discussed why The Neverending Story was her favorite childhood movie, which Octavia Butler quote inspired one of her tattoos, why she decided to go the self-publishing route — and how her indie success resulted in her first novel getting picked up by a traditional publisher, the catalytic scene which sparked her Earthsinger Chronicles series, how she manages to meet the expectations of both fantasy readers and paranormal romance readers, her advice for breaking out of writers block, and much more.

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For the final Eating the Fantastic culinary conversation of 2019, we return to the Baltimore Book Festival, following up on last episode’s lunch there with Elsa Sjunneson-Henry. This time around, you get to take a seat at the table with Bob Proehl, who published his first novel in in 2016. A Hundred Thousand Worlds is about the star of a cult sci-fi TV show and her nine-year-old son making a cross-country road trip with many stops at comic book conventions along the way, and was named a Booklist best book of the year.

His latest novel, The Nobody People, about the emergence of super-powered beings who’ve been living among us, came out earlier this year. He also wrote on the Flying Burrito Brothers’ 1968 album The Gilded Palace of Sin as part of Continuum International Publishing’s book series 33 1/3. He has been a New York Foundation for the Arts Fellow in Fiction as well as a resident at the Saltonstall Arts Colony.

We slipped away to Sabatino’s Italian restaurant during the two-hour gap between my panel on “Sandman to Saga: Great Comics & Graphic Novels for Adults” and his on “Dystopias, Near Future & Present,” where we chatted over orders of veal parmigiana and eggplant parmigiana. (I’ll leave it to you to guess which of us was the carnivore, though I suspect that if you’re a regular listener, you’ll already know.)

We discussed how it really all began for him with poetry, the way giving a non-comics reader Watchmen for their first comic is like giving a non-novel reader Ulysses as their first novel, why discovering Sandman was a lifesaver, the reason the Flying Burrito Brothers 1968 debut album The Gilded Palace of Sin matters so much to him, why he had a case of Imposter Syndrome over his first book and how he survived it, the reasons he’s so offended by The Big Bang Theory, what he meant when he said “I actually like boring books,” his love for The X-Files, Buffy the Vampire Slayer, and the X-Men, whether it’s hard to get a beer in New York at six o’clock in the morning, why he wasn’t disappointed in the Lost finale, and much more.

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