Episode 267: Natalia Theodoridou

Brunch on blueberry pancakes with Natalia Theodoridou as we discuss what it felt like attending Clarion the same year he was nominated for a World Fantasy Award, how Karen Joy Fowler's advice changed the texture of his descriptions, what he needs to know before beginning to write a short story, whether he's as confident in the writing process as his voice seems to me on the page, why the fact readers won't need to know anything about Bluebeard to enjoy his Bluebeard-inspired novel is a tragedy, the question to which that novel itself must stand as the only possible answer,  why it's so important for readers to be able to sit with ambiguity and uncertainty, the reason we've yet to see a short story collection from him, and much more.

Polish off pasta with Lara Elena Donnelly as we discuss the hot tub conversation which led to the sale of her first novel, why the contradictions of her Clarion experience were liberating, the reason her relationship to the writing process means she's primarily a novelist rather than a short story writer, her complicated emotions about the conclusion to her debut novel, why she got sick of the word "prescient," the gnarly origins of the perfumes we love (and the reasons she needed to learn about them), why she decided to start a service advising how to write better sex scenes, the novel she wrote without gendering a character (and the fun in following which readers assume which genders), how she and Sam J. Miller were able to collaborate without killing each other, and much more.

Tackle Texas BBQ with John Picacio as we discuss 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.

Slurp soup dumplings with Eugenia Triantafyllou as we discuss 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.

Tear into tacos with Richard Butner as we discuss 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.

Bite into Cheesy Pav Bhaji with Karen Heuler as we discuss 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.

Slurp ramen with Mur Lafferty as we discuss 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.

Rip into a lobster roll with Benjamin Rosenbaum as we discuss 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.

Pig out on pork belly with Curtis C. Chen as we discuss how he discovered Star Trek through the bars of his crib, how the superspy star 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.

Binge on burnt ends with Aimee Ogden as we discuss 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.