Episode 221: Julie Phillips

Sup on scallops with Arthur Suydam as we discuss the way a lengthy hospital stay resulted in him falling in love with comics, what Joe Orlando said to convince him to start his comics career at DC instead of Warren, the permission he was granted upon seeing the ghastly artwork of Graham Ingels, what he learned from dealing with cadavers during his art student days, how Gil Kane hurt his feelings by chewing out his early work, the grief Frank Frazetta got out of dealing with Mad magazine, the way his work for Epic Illustrated made Archie Goodwin squirm, why Marvel teamed him up with Robert Kirkman for its Marvel Zombies project, his reason for avoiding social media like the plague, and much more.

Join writer Sunny Moraine for dinner as we discuss how the short story version of Your Shadow Half Remains exploded into a novel (and whether either of them would have existed at all without COVID-19), why pantsing is good but can sometimes become a nightmare, the way stories come to them cinematically,  several questions to which I didn't want to know the answers but only whether they knew the answers, the unsettling demands of Skinamarink, why we both love ambiguity but most of the world doesn't, how to interpret and when to implement the feedback of beta readers, the writerly gifts given to us by our subconsciouses,  why their short story days seem to be behind them, the two reasons they hate the process of titling their tales, and much more.

Join biographer Julie Phillips for Jӓgerschnitzel as we discuss why she called The Baby on the Fire Escape "a weird hybrid monster of a book," the one thing she regrets not researching more thoroughly for her Tiptree bio, the reason there's more space for the reader in a biography than a memoir, why some children of artistic mothers can make peace with their relationships and others can't, the three things she felt it important to squeeze into the seven minutes she was given to speak at Ursula K. Le Guin's memorial service, her writing method of starting in the middle of a book and working out toward both ends, the occasional difficulty of withholding judgement on one's biographical subjects, the relationship between biographer Robert Caro and editor Robert Gottlieb, plus much more.

Nosh pastrami with Glenn Hauman as we discuss how he shook things up during the earliest days of electronic publishing, the embarrassing high school newspaper writings of Ted Chiang, the way the assembly-line nature of comics keeps many creatives from seeing the big picture, why he's nobody's first choice for anything but everybody's second choice for everything, his pre-teen encounters with another pre-teen fan who eventually became a Marvel Comics Executive Editor, the philosophical question he asked actor Michael O'Hare just before Babylon 5 began to air, the lunch that led to his first published short story being about the X-Men, what visiting Don Heck's house at age 12 taught him about artists and taking an art class from John Buscema at age 13 taught him about himself, the plot of the Warren Worthington novel he never got a chance to write, the free speech lawsuit which had him going head to head with the Dr. Seuss estate, plus much more.

Snack on sushi with Ray Nayler as we discuss how his time living outside the U.S. helped him become a better science fiction writer, why he feels the greatest effect of having written The Mountain in the Sea was a culinary one, the reason we agree our favorite part of writing is rewriting, the sad results of his accidental Facebook experiment, whether his mammoth memory behavior is based on scientific facts or is purely speculative, why we'll likely never be able to truly resurrect extinct species, how changes in culture can affect evolution, the train trip where he received career advice from a stranger he didn't realize was Neil Gaiman, why we aren't totally in control of our writing destinies, how he's haunted by the ghost of an alternate version of himself, plus much more.

Nibble garlic naan with Jo Miles as we discuss how what began as a short story blossomed into a trilogy, the way to juggle multiple points of view and keep them balanced, the science fictional precursors which helped them create their sentient ship, how to properly pace the arc of a burgeoning romance, the importance of making sure a redemption arc feels earned, the way their mandate for writing optimistic science fiction came to be, the differing ways we were each affected by the pandemic, how the Taos Toolbox workshop teaches writers to break down the beats  of their stories (and why that terrifies me), plus much more.

Munch MVP sandwiches with MVPs Gary K. Wolfe and Jonathan Strahan as we discuss why The Coode Street Podcast is "the Cheers of podcasts," the foolish statement made during their first episode which meant there had to be more, the identity of the guest who was most resistant to appearing on their show, the reason the podcast made Paul Cornell want to run, the different interviewing techniques necessary when having conversations with the voluble vs. the reticent, the white whales whom they could never snare, how to make sure we're speaking to more than just our own generations, their advice for anyone who wants to launch a podcast of their own, the way to avoid getting canned responses out of guests, how their conversational methods have changed over 13 years, whether critiquing books or rejecting stories has ever affected relationships with a guest, and much more.

Join Izzy Wasserstein for Kansas City BBQ as we discuss the way Sarah Pinsker sparked her lightbulb moment, why it's important for her to learn your chosen D&D character, which Star Trek: The Next Generation characters caused her to take her first stab at writing, the change she'd make in her life if she were independently wealthy, why we both miss those paper rejection slips from publishing's pre-electronic days, the disconnect between the way we feel about certain stories of ours and how readers respond, the most important gift she was given by the Clarion writing workshop, our perverse love for second-person present-tense stories, how surprised she was when she sold a story to Analog, and much more.

Join Pat Murphy for lunch at "the single best restaurant in the world" in Episode 215 of Eating the Fantastic as we discuss the part of Robert A. Heinlein's famed rules of writing with which she disagrees, why she felt the need to attend the Clarion writing workshop even after having made several sales to major pro markets, the occasional difficulties in decoding what an editor is truly trying to tell you, the importance of never giving up your day jobs, why she can't read Dylan Thomas when she's working on a novel, the differences between the infighting we've seen in the science fiction vs. literary fields, what we perceive as our personal writing flaws, a Clarion critiquing mystery I've been attempting to solve since 1979, the science fiction connection which launched her career at the Exploratorium, and much more.

Feast on crab fried rice with Nina Kiriki Hoffman as we discuss the way a ghost story which left her wanting more led to her taking her writing more seriously, her early reactions to reading Robert A. Heinlein and Ursula K. Le Guin, how the Clarion workshop convinced her she could have a career as a writer, the way she wanted to grow up to be a combination of Ray Bradbury and Zenna Henderson, what she learned about characterization from Samuel R. Delany while at Clarion, the major difference she saw between the horror and science fiction communities during the early days of the Internet, how my perception of the arc her career was affected not by what she wrote but by what she sold, the lesson Ellen Datlow taught her which she passes on to her students, and much more.