Meg Oolders was the first winner of the Lunar Awards back in April 2023 for her short story, “Sweet Sixteen”. She describes herself as an author, humorist, and podcaster. Not only has she won a Lunar Award, Meg has also been recognized by Writer’s Digest and Wattpad for her work. Her debut novel, See Dot Smile, is coming out February 9th. Meg Oolders also hosts other authors on her podcast, Talk Fiction. It was such a pleasure to pick Meg’s brain about her writing process, how she approaches genre and theme in her work, and all the wonderful additions she brings to the writing community as a whole.

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We are so grateful that Meg returned to the Lunar Awards community to share her story and insights. I hope you find inspiration in her interview.

Reina Cruz (RC): “Sweet Sixteen” was the story that brought you into the Lunar Awards orbit. Can you tell us how you found the community and what made you want to submit that particular story?

Meg Oolders (MO): “Sweet Sixteen” has such a delightful origin story that has everything to do with finding my writing community on Substack. Shortly after I started publishing my newsletter, I discovered Fictionistas, a collaborative Substack for fiction writers founded by Jackie Dana and Geoffrey Golden. One of its earliest members was Brian Reindel, the founding father of The Lunar Awards. I quickly became embroiled in a fiction writing challenge with nine other writers (including Brian), which introduced me to the event’s organizer. J.E. Petersen. After the challenge, J.E. reached out to me about another collaboration. We brainstormed a bit and decided to do a story exchange, where we’d each write a piece of short fiction, hand it off to the other for them to rewrite it as they saw fit. “Sweet Sixteen” was the story I rewrote from J.E.’s original story. And it was Brian Reindel himself, having just launched the Lunar Awards, who nudged me to submit it to the first round. :-) “Sweet Sixteen” is also the story that later won honorable mention in the Writer’s Digest competition. It’s reached a lot of people and I’m quite proud of it.

RC: That is quite a journey that led to “Sweet Sixteen.” There are so many great communities to find on Substack, really exemplifying the writing community. You have a debut novel coming out this year. Congratulations! With a debut novel on the way, two major writing awards under your belt (Watty and Writer’s Digest), and a podcast, what does this season of your creative life feel like compared to earlier chapters?

MO: I love that you used the word “season”, because getting used to seasonal changes in my creative life has been essential for me, particularly in the last year with my novel finally getting picked up by a publisher. My current season is very much about showing up in new spaces, positioning my book for better visibility, growing my audience, and finding marketing strategies that I can stomach, because I really don’t care for the business side of being a writer. I miss hiding away in my basement writing books and look forward to wrapping up final edits on See Dot Smile (my Watty award-winning debut) so that I can reinvigorate my creative writing practice to make space for something new. Even if it’s just writing a chapter or two a week in the margins. As for the podcast, I’m determined to keep that alive. At this point, I’m only managing an episode a month, but the experience of talking with other authors about their writing life is so valuable to me. I’ve learned so much from my Talk Fiction guests over the past two years. And I know listeners value the unique perspectives of fellow creatives making their way in the world as much as I do.

RC: I think it’s so cool how your different pieces, “Sweet Sixteen” and See Dot Smile have gone through different “seasons” in a sense, with the awards all leading to your partnership with a publisher. What kind of marketing have you found enjoyable as you go through your first official book launch?

MO: I wish I could say I found some aspect of marketing “enjoyable.” :-) I am having a bit more fun on social media lately, Instagram specifically, though that enjoyment waxes and wanes. I think where I continue to struggle with the marketing piece is that I’m eternally searching for a way to promote my book that rests somewhere between what the entire marketing universe insists will work, and what I am actually comfortable with and really like doing. If you spend enough time on social media, you learn pretty quickly what types of marketing you DON’T like and therefore don’t want to create yourself. And when you do find something you like that another author is doing, the desire to make your version of that stand out and not just be a carbon copy becomes the next challenge. I am learning a lot as I go, I’ll say that much. And have encountered a lot of inspiring author accounts online, people I think are “doing it right.” Looking ahead, I’m most eager to market my book through podcast guest spots and other types of collaborations, both in person and online. I think those opportunities are extra valuable because in addition to having the floor to hype your book, you’re also forging a connection with another creator. And I don’t think you can ever have enough of those.

RC: Have you had the opportunity to share your book on a podcast yet? I’d love to share the episodes, now or in the future.

MO: I’ve been a frequent guest on Claudine Wolk’s podcast, Get Your Book Seen and Sold. She’s been a champion of my book from the beginning. Here’s a link to our most recent chat, wherein I talk a bit about my experience getting See Dot Smile picked up by Empress Editions!

Get Your Book Seen and Sold

How Meg Oolders Took Her Instagram to the Next Level with Reels

If Instagram has ever made you feel like you’re shouting into the void, you’re not alone…

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4 months ago · 6 likes · 4 comments · Claudine Wolk

RC: Speaking of podcasts, we’ve briefly discussed how you host your own. What has hosting Talk Fiction taught you about writing, community, and/or yourself that you didn’t expect?

MO: Talk Fiction has been such a source of pride and enjoyment for me because it plays to so many of my strengths, both as a writer and a personality. I do quite a bit of work on the front end, before I even sit down with a guest, to write them a stunning introduction highlighting their accomplishments. I don’t share this with them ahead of time, so I get to enjoy their reaction to hearing how amazing they are in real time. I was surprised to discover that I really enjoy the editing piece, though I probably shouldn’t be surprised. This definitely aligns with my perfectionist streak when it comes to presentation. I have my background in theater, music, culinary arts, and floral design to thank for that. I learn a lot about writing and creative entrepreneurship from hosting because I deliberately invite creators to join me who are doing something I’m not or something I’d like to get better at. So, it’s less a show about promoting books (though that’s a nice bonus) and more about learning how other artists practice craft, mindset, marketing and promotion, or any of the other hats we wear as “writers.” Lastly, I didn’t expect the podcast to last this long! I’ve been at it almost two and a half years already. Delivering episodes monthly, plus taking a couple of months off in the summer, has helped keep me from burning out. And it keeps me excited about finding guests who might bring something new to the table in future episodes.

RC: Shifting back to your two pieces, “Sweet Sixteen” is a sci-fi coming-of-age story, while See Dot Smile is a YA romance. Do those feel like two different genres to you, or two sides of the same one?

MO: Ooh. Fabulous question. I would say that both stories fit snugly into the coming-of-age category--teenage protagonists navigating adolescence-- with wildly different external circumstances. I think all young adult fiction relies heavily on interiority, what the characters are feeling while they navigate changes, challenges, and threats within their own bodies and worlds. This is why you’ll find a lot of YA stories written in first person point of view. It allows the reader to get under the character’s skin and experience what’s happening to them in real time. Both stories carry romance markers, too, because whether or not love is the goal, curiosity, desire, and heartbreak are ever-present (thank you, hormones) in the lives of those becoming adult humans. Another parallel would be the attention paid to family, both biological and found. Because young adults are still, in many ways, children who are reliant on and subject to the decisions made by the grownups in their lives. So ... considerably more similarities there than I even realized. Thanks so much for that question!

RC: The connections you made between your pieces are beautiful, the way you’ve broken down two supposedly different genres into how they overlap. It has me wondering about writing across different genres. That tends to be something writers are discouraged from doing. While your work crosses genres, the themes and heart behind your words align. Does that translate to your audience, or do you find that you have a YA romance audience, sci-fi audience, etc?

MO: Love this question. I’ve often worried about whether or not the audience I’ve built on Substack, writing short fiction and poetry, much of it very experimental, is likely to follow me on my YA novel writing journey. The fact that I’m able to draw threads between all of my fiction writing means I can probably (ideally, maybe) convince other people to embrace those commonalities, too. Some may require more convincing than others, of course. If I’m able to publish more YA books in the future, I think it’s possible I’ll have more sway with YA audiences. For now, I’m still a multitude with a very wonky body of work.

RC: Humor seems to be central to your voice. I see that in your podcast as well as on your website. How do you think about humor as a craft tool, especially in emotionally heavy stories?

MO: Yes, humor finds its way into almost everything I do. And yes, I am that person who makes jokes at funerals to lighten the mood. And I have to believe that is why I almost instinctively inject humor into my fictional stories. To keep my characters safe from emotional annihilation. For me, I worry it’s not so much a tool as it is a crutch! Humor is a natural tension diffuser, so it’s always tempting to use it when a scene gets really heavy, HOWEVER, tension is what builds anticipation and keeps readers engaged, so I often have to temper my funny girl instincts with what I’ve learned makes good fiction. That said, one thing I think all of my stories offer is some element of hope, even in dark times, and humor is often the vehicle I use to deliver that message.

RC: A big part of the Lunar Awards is building a community where writers feel seen, supported, and inspired to keep going. What has kept you going through the harder, quieter moments of your writing life?

MO: To be honest, I haven’t had a quiet moment in my writing life for a long time. The closest thing would be spending the last two weeks editing my novel. It required me to tune out almost everything else. And it felt AMAZING. If by quieter moments you mean stretches of time where not much happens with your writing, I’m starting to appreciate (and yearn for) those seasons more and more. Writing (thinking, dreaming, planning, problem solving, decision making, facing rejection) is an exhausting endeavor. Breaks are so necessary, in my opinion, for filling the creative well. Before I wrote all my novels, I was reading a ton of books and taking a lot of writing classes. I needed that input in order to create all that output. One thing that has kept me going, in recent months, is the realization that this whole journey is just one long game of chutes and ladders. The trips down are always a blow to your progress, but the climbs up build resilience. Every time I crawl out of the low of a rejection, a bout of self doubt, or a hard-learned business lesson, I remember all the times I’ve been down before. And that I was able to get back up every time. Also, I think the ups are cumulative. Every win comes with a badge, real or symbolic, that you can wear proudly moving forward. Some of them ... like a Lunar Award win ... might create a surprise opportunity down the line ... like this delightful interview!

RC: What’s one thing you want the Lunar Awards community, speculative writers at all different stages of writing and publishing, to know either about writing or you?

MO: My advice to fellow creatives: To the best of your ability, try not to compare your work, your journey, or your credentials to anyone else’s. No matter how much you may want to follow in another writer’s footsteps, there are WAY too many variables at play for that to ever happen. On the plus side, YOUR work and YOUR journey can never be replicated either. Own your story. And remember, you have the power to change it any time you want! Easier said than done, I know. But that’s the stuff I’d tell myself if I was asked this question, which I was ... so there you go.

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So many thanks to Meg for taking the time to answer my questions for the Lunar Awards community. You can stay up to date on Meg’s debut novel and her other writing endeavors at her website and through her substack:

Stock Fiction

A mercurial space for human-generated fiction and honesty from award-winning author, and critically-acclaimed mother of two, Meg Oolders.

By Meg Oolders

Dear Reader: My mother enrolled me in a magic class at our local library not too long after David Copperfield made the Statue of Liberty disappear. Together we learned the deep secrets of prestidigitation, and by the end I had a new admiration for magicians. I was to perform one special trick in front of the other children and parents but lost my prop. The instructor provided me a dull substitute, which didn’t live up to everyone’s expectations. I went from making a coin disappear to a dancing handkerchief, unceremoniously ending my magic career.

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Unlike your host, our guest today is highly accomplished, world renowned, and is regaling her subscribers with amazing stories of illusion and wonder. We’re thrilled that Charlotte Pendragon is joining us and I hope you’ll find her interview inspiring and magical.

You've performed for royalty, presidents, celebrities and a host of fans far and wide. What have these experiences taught you about people and humanity in general?

Having the honor and blessings to have performed for such an incredibly diverse range of people from all different countries and societies, including royalty, heads of state, celebrities, and fans from all walks of life, has established my view of human nature and humanity. The art of magic has tremendous universal appeal, which transcends all languages and cultures. All humanity shares the desire and need for enchantment and wonder. My work is to accommodate this need, and it doesn't feel like work.

Through magic, the world is transported to a realm of imagination without language barriers and always ends in the unification of humankind. Instilled in me is gratitude and a sense of humility from interacting and sharing my talents with influential world figures and others regardless of their status. My exposure to many different audiences has facilitated my empathy and understanding from the lens of others, enriching my and the audience's experience.

Distraction and illusion can be just as important in writing a multi-layered science fiction or fantasy plot. Can you share with our readers and fellow writers the key to executing a good misdirection?

Distraction and misdirection used in a fantasy story involve expertly redirecting the reader's attention elsewhere from pivotal plot elements, eventually leading to unpredictable twists and turns —Surprises.

There are many effective techniques a writer can employ to guide the reader in a different direction. It's used as a distraction in a sci-fi or fantasy setting. Classic magic methods of misdirection are used as a writing tool. Invent supernatural or magical curios or keepsakes that contain surprising secret powers and abilities directing the story's figures and the readers off-course. A writer can overturn routine fantasy tropes, resulting in unforeseen outcomes to astonish readers, adding innovation and originality to the narrative.

Inventing your own trick or illusion seems to be the pinnacle of an illusionist's career. How does one accomplish originality in your field if they're not constantly inventing new tricks?

Creating a new effect in magic can be an important milestone for a magician. Few obtain that mark. I was fortunate, through collaboration with other partners of a team, to create a new illusion named Interlude, an illusion where a person passes through the chest of another person. But to achieve originality in magic and illusion, one doesn't constantly have to invent new tricks. There are alternative ways to cultivate creativity. For instance, innovative staging of your illusions is a crucial way to be different. Inventing a stage persona to exhibit your originality and introduce other likes and interests into your routines. Making modifications to old illusions and adapting the magic to your own style are just a few of the ways to build an original presentation.

"Street magic" has been around for hundreds of years, but experienced a resurgence in the late 1990s and early 2000s. What's the relationship like between mentalists, street magicians and theatrical illusionists?

Street magic has always been strong through the ages. I began my career in magic busking at Renaissance Faires, which I talked about extensively in one of my earlier Substack posts. Street magicians were more popular during the 60s and 70s when fewer social restrictions were placed on street artists. Back then, a license was not required to busk, and in most cities, a magician legally could set up on any corner and pass a hat. Today, if you desire to perform on Fremont Street in Las Vegas, you must file papers with the city. Street busking isn't what it used to be. The reason street magic is familiar to most people beginning in the early 2000s is due to TV specials featuring magicians like David Blaine showing him on the street, surprising people from all walks of life with card tricks. These shows’ focus isn't so much on the street performers as they are the audience's reactions. So TV has familiarized audiences with street magic, but there isn't a large volume of street magicians. You see street magic almost exclusively on TV.

Overall, mentalists, street magicians, and theatrical illusionists have unique performance styles. They are united mainly through a shared passion for art and a sense of camaraderie, and respect for the craft helps to foster a vibrant magic community where, many times a year, conventions are held, bringing them together for communion.

In your post titled "Spellbound" you hint at the blurred line between illusions and spells or metaphysics. In your experience, how do most illusionists approach the concept of real magic?

The blurred line between the two arises from the shared aspects of perception, belief, and experience that underlie both illusions and metaphysical phenomena. Stage illusions rely on manipulating perception to create the appearance of something that is not there. Similarly, spells or metaphysical practices may alter perception or consciousness to manifest desired outcomes. Both involve manipulating the way individuals perceive and interact with their environment.

The Charlotte Pendragon Diaries by Charlotte Pendragon

Spellbound

Thanks for reading The Charlotte Pendragon Diaries by Charlotte Pendragon ! Subscribe for free to receive new posts and support my work. “As there is little foolish wand-waving here, many of you will hardly believe this is magic. I don't expect you will really understand the beauty of the softly simmering cauldron with its shimmering fumes, the delicate …

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3 years ago · 98 likes · 73 comments · Charlotte Pendragon

Fantasy books with magical systems are very popular, especially after the success of the Harry Potter franchise. How does that affect your industry?

Of course, the Harry Potter franchise has increased interest in magic in adults and kids. The magical world of Harry Potter is rich and diverse, with many different magical creatures and settings inspiring magicians to explore new themes and styles. The imaginative magic of Harry Potter has challenged magicians to push the limits of their boundaries and find new techniques and tricks. Primarily, the stories help readers interested in magic to enhance their sense of marvel. And imagination.

If someone were interested in performing amateur illusions, how should they get started?

The first step I recommend, if you are interested in performing magic, is to begin researching different types of magic to determine the best fit. Perhaps its card tricks done in an intimate setting like restaurants or large-scale mega illusions like making the earth disappear; figure out what you love the most and what works best for you—learning about the principles behind them. Many resources are available, including books, online tutorials, and instructional videos, that can help beginners understand the basics of magic and illusion.

Put what you've learned into practice. Start rehearsing basic sleight-of-hand techniques and necessary fundamental skills to form a foundation from which you can build a show. Start with simple tricks and illusions suitable for beginners, ones that are easy to learn and perform. Gradually work up to more complex illusions as you gain confidence and experience.

Can you share one experience from your work that you remember fondly? Either an interaction with a fan, celebrity or a particular accomplishment?

While in Egypt, I performed a show where one performer was at a charity event benefiting a children's orphanage. After the show, a young girl approached me, her eyes shining with excitement and admiration. The girl shared how watching my performance had lifted her spirits and given her hope during a difficult time. Touched by this little girl's heartfelt words, I talked with her, offering encouragement and even teaching her a simple magic trick to try at home. The encounter reminded me of the profound impact magic can have on people's lives, especially during challenging moments, and it reaffirmed my belief in the power of spreading joy and inspiration through my performances.

As one of The Pendragons, I always get to participate in meet and greets following our shows. This was a chance to thank our guests and meet our excited fans personally. During one meet-and-greet event, I had the pleasure of meeting a devoted fan who had traveled a long distance to see the show. The fan, a young aspiring magician, expressed admiration for our magic and shared how my performances inspired her to pursue her dreams of becoming a magician. Her enthusiasm and dedication touched me; I spent extra time with her, offering encouragement and sharing advice to hone her skills. She left feeling inspired and motivated. I was reminded of the impact established professional performers can have on aspiring entertainers and the importance of nurturing the next generation of talent in the magic community.

What's next for Charlotte Pendragon? Are you still performing illusions? Is there a book on the horizon?

In addition to my live performances, I have recently ventured into the world of conceptual videos, collaborating with Randy Lessley, my husband, to create mesmerizing visual experiences that blend magic with original music produced by Randy. My videos will showcase our creative vision for my work and my ability to transcend the boundaries of traditional magic performances. These will be available sometime later this spring on our membership website.

As far as a book, I began my Substack articles because I was trying to write a book, but I had no idea where to start and what to edit with so much material. Substack has enabled me to focus on my writing, giving me a clearer picture of my book. So yes, I plan to publish a book about my life in magic and beyond.

Many thanks to Charlotte for spending her time with our Lunar Awards community. You can find her writing in detail about her magic career at The Charlotte Pendragon Diaries:

The Charlotte Pendragon Diaries by Charlotte Pendragon

WELCOME! As a member of The Pendragons, I’ve met and performed magic for audiences worldwide, including famous personalities. I will be writing about my magical journey and talking about those beautiful experiences (and not-so-beautiful) on my podcast.

I’m honored today to publish an interview with (Sally), who was voted the 2023 Lunar Impact award winner by a group of her Substack peers. Sally received a $25 monetary award and a lifetime paid subscription to the Lunar Awards. She was gracious enough to give us the scoop on her publication journey and shared insights about growing as an author on this platform.

When Sally is not publishing short stories or serials, you can generally find her on Notes being specifically awesome. Thanks for joining us!

Congratulations on your win! Talebones has been wonderfully received on Substack. Other than your stellar writing, are there other strategies that you believe have helped increase visibility, engagement and readership growth?

Thank you so much, Brian! It’s such an honor to win this and answer these great questions for the Lunar Awards readership!

As we all know, strategy on Substack can be an impossible topic to talk about, and that’s because there are SO MANY ways to “succeed” on this platform. I’ll keep it short, though: strategy begins with knowing exactly what you want out of writing here. Someone who wants to gain as many paid subs as possible is going to have a completely different approach than someone who just wants to post stories and have fun.

Personally, what I want out of Substack is to build a dedicated readership that loves what I do. That’s it. In my view, it’s audience dedication that cultivates longevity as a writer, not focusing on numbers. Deep, not wide. And so, my tactics have all centered around being as consistent as possible, focusing on quality in my work, and setting clear expectations so that my readers know what to look for, from me. I only focus on what I can control, and I don’t let my stats sway me. Patience and a positive attitude help, too!

For my particular goals, these relationship-building efforts are working, and I’m very grateful.

Can you tell us about your journey toward publishing speculative fiction on Substack?

Let’s see, well... like a lot of people, I’ve wanted to be a writer ever since I was very little. I’ve written my whole life, but have always struggled with the motivation to finish anything. My computer hard drives over the years are strewn with a graveyard of unfinished projects!

In 2018, I finally finished a short story called The Book, prompted by the deadline for submission to a small online publisher called Mysterion, and my story was accepted. After that acceptance, I was fully bitten by the publication bug, but I still struggled with the motivation to finish anything, and submissions quickly felt exhausting. I did complete a sophomore effort, called A Thing Must Be Loved, and shopped it around to several publishers. No takers. I shelved it, figured it would never be seen again.

I basically gave up on being published as a fiction writer around 2021. I didn’t think I had the stamina for submissions, and I felt too undisciplined to finish anything. While I quietly poked at fiction projects in the shadows (because I couldn’t help it), I decided to focus on nonfiction, instead, and try out this platform I had heard about from a friend. It was called Substack.

Flash forward to early this year. Notes is launched. I have around 200 subscribers to my nonfiction newsletter, The Wildroot Parables, but had zero designs to publish any fiction. That is, until—on Notes—I interacted with fiction writers here on a larger scale for the first time. I read articles about the state of traditional publishing, about the potential effectiveness of online serialization. It had honestly never occurred to me to publish online before, but I thought, I mean…why not? This stuff is just sitting on my computer, anyway.

I launched Talebones in late May of this year—purposefully keeping my nonfiction and fiction audiences as separate as possible, so they could grow on their own merits—and my first official tale was my rejected story, A Thing Must Be Loved. Readers really seemed to resonate with my strange little story that so many publishers had said “no” to, and that felt amazing. I haven’t looked back.

A Thing Must Be Loved is out from the paywall for a limited time as a holiday bonus from Sally to her faithful readers.

Speculative covers a broad range of science fiction and fantasy. What is the genre’s appeal for you, and have you considered other genres?

Not to be overly deep about this, but speculative fiction feels like home to me, because in so many ways it’s a very sacred genre. Speculative fiction is a direct descendent of the earliest traditions of storytelling. Since the dawn of time, people have sat around the hearth and played with the concept of reality, talked about ghosts and monsters and strange places. Speculative fiction is the genre of myth and legend and parable and folktale, and I think we learn from each other best when we tell stories that walk that line between mysterious and mundane.

I’ll never say never, but I find it difficult to imagine writing in any other genre.

Much of your fiction plays a part in a larger narrative centered around a place called Ferris Island. Can you tell us about the inception and evolution of this magical location?

For most of my writing life, I wrote fantasy, and I always came up with elaborate locations to set my stories in. I was a major world-building geek. (In some ways, I still am.) I made up languages and histories and maps. For about eight years I worked on creating a haunted island in an alternate-history version of Europe, but honestly…it was not a convincing place, and it did not feel real. It certainly was not inspiring enough to take me out of worldbuilding and into actual storytelling. It was a pet project, nothing more. But not a waste of time. (Craft rarely is.)

A handful of years ago, I started to imagine what it would be like if, instead, I moved my island idea here, to my homeland of Washington State. I would have to do away with a LOT of the worldbuilding I had done. The island would have to be smaller in size and scale, and it would need to realistically fit in with the pre-existing infrastructure and history of this place I call home. But the more I played with it, the more it worked. Some of the characters and concepts fit in, wholesale. Others were recycled into different forms. And the real-world limitations were more infinitely inspiring than the complex world I had built, before.

What’s best of all: I started actually writing stories in it. And I love that people are reading them.

Your novella Goldgreen is a successful speculative serial set on Ferris Island. What’s unique about the story or characters that you think resonated with a wider audience?

I know this might sound like a cop-out, but I’m honestly the worst judge of whether my stories resonate or not, and how!

Here’s what I know: my goal with the story was to create characters and a scenario that people would feel part of, would care about. I’m a firm believer that a story set in an unfamiliar place or time period—in this case, the 1960s on a haunted island—can still resonate with readers if the characters feel as real as possible. If they have goals, dreams, and strong motivations. So, I set out to make interesting characters that people would feel for, weep with, and celebrate. If I did that, I did my job!

When it comes to telling a great speculative story, what are a few core elements you think are required? Or, what do you think is often stated, but not necessarily true about writing a speculative story?

I believe that speculative fiction writers have the deepest imperative, out of any other genres, to be empathetic, curious, and unafraid. We have a whole palette of paint at our disposal. We’re often working with magic and technology and mysteries beyond human comprehension…and the only way to make those things feel real, grounded, and interesting is for us to understand and be empathetic to all kinds of humanity.

I know I could get some flak for this, but I think a lot of speculative fiction writers get too easily caught up with the flashy parts of the genre. Because let’s be honest: speculative fiction is fun! You get to play with reality! It’s like being a kid in a candy store!

But speculative fiction needs to be a good story, first. And a good story needs a curious, aware, unafraid, empathetic author if it’s going to live beyond the page and connect with its readers.

Talestack News is a section of Talebones where you share news and updates sent in by the Substack fiction community. What was the impetus for this undertaking?

It all happened in one afternoon on Notes. Jimmy Doom had just announced his 1,000th daily story, and a handful of other fiction-related news was flying by on my feed, and it just seemed like no one was finding and hyping each other up. (To be fair; the Notes algorithm was still in its infancy, so finding each other was pretty tough, anyway.)

That day, before I could talk myself out of it, I decided to start a twice-monthly bulletin where folks can submit their fiction news and know that it’s going to get seen. From the jump it was a huge hit! The stated goal of Talestack is to share the news and updates of fiction writers on Substack with a wider audience, and while I don’t always get to read every piece I include, I love knowing that someone’s work and milestones are going to get a boost. There’s no feeling quite like seeing the stats when people click the links to explore their peers’ work. It’s the best, and one of my favorite things about writing, here.

You offer freelance services as a proofreader, copywriter, and developmental editor. In particular, what should a good working relationship look like between an author and developmental editor?

I know it’s a cliche, but it’s a good one: communication is key, even in professional relationships. When looking for an editor, a solid partnership is vital, and you should feel as comfortable as possible with the person you’re entrusting your work to.

It’s an editor’s job to listen well to your hopes, goals, and concerns, to discuss a plan (and a price) that you can both agree on, and to keep you apprised of the process. Excessive harshness is not a good quality in an editor, but someone who gives you firm critique and pushback is really important, and it’s in your best interest to hear them out. Believe me, I know how hard it can be to take critique as an author. But your work needs a keen eye if it’s going to be as compelling as possible!

Just like hiring any professional, at the end of the day, you should feel comfortable with the person you’re giving your story to. If at any point that feeling of comfort stops, look elsewhere!

Can you share a few words of parting wisdom about writing or the writing life?

Don’t give up.

I’m serious.

I’m not sitting here making buckets of money from my writing. Not even close. Every month is a struggle when the bills come due, and I know a lot of you can relate.

But if you’re like me, and writing is something you are simply unable to stop doing, then keep writing. Please. It’s important.

When I all but gave up in 2021, if you told me I would be writing for the most gracious, incredible audience on Substack within a few years, I wouldn’t have believed you. But these things happen. You just can’t stop.

So don’t stop. Ask questions of the writers you admire. Don’t discount your dreams. Keep every idea, just in case. Look for opportunities, but don’t despair when they don’t seem obvious. Things have a way of working out if you put one foot in front of the other and keep your eyes—and heart—open.

Keep going. Keep writing. Don’t give up.

Many thanks to Sally for her interview and contributions to the science fiction and fantasy community on Substack. You can find her publishing fantastic tales over on Talebones:

Talebones 🔭

Short and serialized fiction from writer S.E. Reid: speculative tales with a spiritual, supernatural, or uncanny twist!

By S.E. Reid

Gareth L. Powell is no stranger to prolific publishing. According to Gareth’s Newsletter on Substack, the author has been writing for nearly twenty years, with more than twenty books going to print in eleven languages. He has twice won the coveted British Science Fiction Association Award for Best Novel, and his short fiction has appeared in Clarkesworld and Interzone, and been featured in numerous anthologies, including The Year’s Best Science Fiction: Thirty-Second Annual Collection edited by Gardner Dozois.

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We’re honored that Gareth is joining us today and hope you’ll find inspiration and wisdom from his insights.

Along with the difficult act of publishing traditionally, you've been nominated and honored with awards, and have been a full-time writer for nearly 20 years. Looking forward to the next 20 years, what does success look like for you?

Awards are great, because they tend to pull in new readers, so I'd like a few more of those. And of course, I'd love to hit a few bestseller lists. But to be honest, I'll be happy as long as I can continue to make a living doing what I love.

Can you share what's on the immediate horizon? Any new novels in the works, TV shows or film adaptations?

My tenth novel Descendant Machine came out in April, and since then I've written and delivered my eleventh, which is called Future's Edge and is a standalone set in brand new universe. Titan Books will publish it, and a short story collection, in 2025. There is an adaptation of my Embers of War trilogy in the works, but there are no streaming details as yet.

What can readers expect when they pick up a Gareth L. Powell novel?

Hopefully, when you dive into one of my books, you will have a good time. There are complex, relatable characters; twisty, fast-paced plots; the occasional flash of humour; and some mind-blowing science fictional and philosophical ideas handled in an accessible way.

Science fiction novels, just like fantasy novels, often come in a series of volumes. How did you decide that would be the case for Ack-Ack Macaque and Embers of War?

I wrote the original Ack-Ack book as a standalone, but it caused such a stir that the publisher asked me to turn it into a trilogy. With Embers, it was conceived and sold to Titan Books as a trilogy. I knew it was going to be an epic tale, and three books seemed like the right length to tell it.

You mentioned attending Fantasycon recently and feeling inspired. What else inspires you to write? As a follow-up, how do you get motivated when you're not inspired?

I find my wife, Jendia Gammon, hugely inspirational. She has a fantastic work ethic and her background in science journalism means she's used to getting words on the page as quickly as possible, and that's a great example for me, as I tend to write fairly slowly.

What do you believe is at the core of any science fiction story, no matter the sub-genre?

Science fiction holds a mirror up to our world. It reflects our hopes and anxieties for the future. So, I think the core of any science fiction story should be a comment on how our lives will change if X and Y happen. But at the same time, it should also show us wonders and blow our socks off with new and strange concepts and ideas.

You mentioned back in May of 2023 that you were setting up a production company. Can you give us a high-level overview of what your production company will do?

The idea is that we will eventually produce film and TV projects, but that's a way in the future. Our immediate goal is that we will set up a publishing imprint, but again, that will take a while to get everything in place. We want to make sure we do it properly, and that involves a lot of time.

What does your publication process look like, start to finish, for your books? Can you provide a brief summary of the various steps in the process?

Once I deliver a book to my editor, she will read it and come back to me with initial comments, which will mostly be based around the plot, making sure everything makes sense and the story's satisfying. Usually, I'll follow all her suggestions, because she's very insightful and experienced. We may go back and forward a couple of times, then the manuscript goes to a copy editor, who checks for spellings, consistency and continuity. Then when we're all happy, the book goes to print, and we send some advance copies out to reviewers and other authors.

Working as a full-time author is the dream for many writers. As a full-time author yourself, what's something you've learned that might surprise other aspiring writers?

I have seen some authors struggle when their passion suddenly becomes their job. It can kill your creativity when the thing you've been doing as your creative outlet turns into an obligation. But if you can keep the joy and excitement alive, you'll be fine.

Many thanks to Gareth for spending his time with our Lunar Awards community. You can find the author encouraging fledgling writers on his Substack:

Gareth's Newsletter

Straight from my keyboard to your inbox: essential writing advice and updates from award-winning SF and Horror novelist, Gareth L. Powell.

By Gareth L. Powell

Thus begins your Dungeons & Dragons (D&D) campaign, and it opens up a world of possibilities, and hopefully a lot of fun and camaraderie with fellow players. Much of the success and enjoyment for a campaign is in the hands of your resident DM (Dungeon Master), who will lead you through harrowing exploits with all manner of interesting characters and environments. D&D is a game that millions have enjoyed since Gary Gygax and Dave Arneson published it in 1974, letting each DM craft unique and limitless experiences ever since.

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The Lunar Awards went out in search of an experienced DM and RPG game master with years of experience introducing players young and old to D&D. We wanted all of our readers, whether you’ve played the game or not, to learn from the best. Our endeavor led us to Mike Shea, a writer steeped in monsters, magical items and fantasy lands far and away. Welcome, Mike, thanks for visiting and giving us the latest lowdown on the most popular roleplaying game ever created!

The Business of D&D

You’re primarily a writer and author, but that doesn’t adequately summarize your vocation. You’re a successful YouTuber with 50k+ subscribers, you helped run a Kickstarter that garnered 7,200 backers and nearly $290,000, you run a Patreon and are a game master. How do you describe your line of work?

I still consider myself a writer above everything else. Running my own small business means I do a lot of everything. I’m wiring microphones. I’m setting up mirrorless camera settings. I’m figuring out sound treatments for a studio. I’m managing international distribution. I’m reviewing paper quality for print books. I’m scheduling projects two years out. I’m handling marketing on like seven different platforms. My to-do list is pretty huge.

But all of this still comes down to being a writer first. I write books. I write articles. I write newsletters. I write scripts for the videos I shoot. That’s where my value to this industry lies, I think. The rest is trying to get attention to what I write and getting what I write in front of peoples’ eyes or ears.

I’ve done a lot more video and audio production work in the past couple of years. But I still see that as a vehicle for what I write first.

So yeah, writer.

Many avid D&D players have a prologue, the true-life adventure that led them to a lifetime of roleplaying fantasy adventures. What led you to start playing D&D and what were some of your early influences?

Mine’s not fancy. I got into the gold box D&D computer games first (Pool of Radiance, Curse of the Azure Bonds, Streams of Silver) and then picked up a 2nd edition Player’s Handbook to learn more about how this game ran. In high school I ran a D&D campaign I still look upon fondly with some friends. Then I got back into it in college but stepped back out until D&D 3.5 in the early 2000s. But since then I’ve been playing games regularly.

My father, Robert Shea, is my biggest influence. He wrote the book “Illuminatus!” and I just always remember him hammering away on his Apple II on his latest book. He also wrote and published “zines”. He’d type them out, print them, paste the paragraphs into pages, xerox them, and mail them out. It was blogging back in the 80s. I would give anything to see how he’d have operated in today’s world.

We have a good number of fantasy fiction writers that submit to the Lunar Awards and who publish on Substack. What kind of advice can you give for those that want to expand their reach and write professionally for roleplaying games?

Start a website and start a newsletter. Start building your own platform on your own terms. Don’t tie yourself to a single enshittified platform (see Cory Doctorow’s piece on the Enshittification of Tiktok if you’re not familiar with the term). Today, the big silo platforms (Facebook, Twitter, Instagram, Tiktok, YouTube, Threads, and so on) are all doing everything they can to make sure people don’t ever leave their platforms. Their algorithms pretend to serve you but only serve themselves. Instead, we can build our own platforms on email newsletters, websites, blogs, RSS feeds, podcasts, and federated services like Mastodon. When we build up our audiences there, those platforms serve both us and our audiences, not some trillion-dollar megacorporation.

I use YouTube a lot to bring people to the rest of my work but I don’t trust it. They could start downgrading my stuff tomorrow. Luckily, I have a good email list of people who trust that I send them useful stuff. I have a solid podcast. I have a website where people can find lots of free articles and the books I write.

So that’s what I’d suggest people really consider — build and own your own platform. It takes years to build it up but it can really help in the long term and we have no idea where the internet is going.

Inspiration for fantasy fiction writers typically comes through the consumption of other media. Are there resources that you can provide or recommend that will inspire writers who may not necessarily be interested in RPG gameplay mechanics?

I don’t think I have anything better to offer than anyone else. Get ideas from everywhere — movies, books, TV shows, music, video games. Absorb your favorite art. Let it drive your own passions. Be a kid again.

The Culture of D&D

D&D has had a huge cultural impact, but it's not always perceived as positive. Can you talk about the current state of the game in relation to its past accomplishments and failures?

There’s sort of two questions here – the state of D&D itself (a brand owned by Hasbro) and tabletop roleplaying games in general. The biggest shifts happened earlier this year when Hasbro tried to pull back an openly-released and licensed set of rules called the 5.1 System Reference Document. That went really badly for them, permanently damaging the D&D brand and breaking Hasbro’s promise to be good stewards of the game. It did result in releasing the 5.1 SRD (basically 80% of the rules of D&D) in the Creative Commons. This means many other RPG publishers can write their own versions of “5th edition” (the latest edition of D&D). So now the game is more open than it’s ever been. You can play many different flavors of 5e from many different publishers.

But there’s also many different tabletop roleplaying games. I just played a game called “Shadowdark RPG” made by Kelsey Dionne which had 13,000 backers and made 1.3 million dollars on Kickstarter. There are thousands of different roleplaying games now and many different ways to play.

D&D is still the biggest one, no doubt, and it’s going to stay at the top for a long time. Someone figured out that it’s basically 100x as popular (in sales) than other big RPGs and maybe 20x to 50x bigger than the next most popular.

That’s fine, though. I love D&D. I love tabletop roleplaying games in general. I want more people coming to this awesome hobby and learning how much fun it can be to share stories with our friends around a table.

D&D itself has a new version update coming in 2024. They’re calling it “the 2024 update to D&D” or something like that but its basically an improvement to the extremely popular 5th edition version of the game. We hope it brings more people into the hobby but time will tell.

The occult is still a sensitive subject for many parents, even in the context of fantasy. If a younger player wants to get involved with D&D, how do you address their parent’s concerns?

This actually doesn’t come up very often these days. Conservative groups seem to have other targets in their crosshairs these days, so they haven’t targeted D&D since the 80s. In fact, many religious leaders, teachers, and parents have embraced the value of shared storytelling, teamwork, and social bonding that roleplaying games bring to the table — so to speak. Pop culture helped with that a lot. Stranger Things shows us how D&D can bring kids together instead of painting them as strange occultists.

The easiest way to convince parents is probably to let them watch the kids play, or play it themselves. D&D is a game of cooperation, storytelling, imagination, and mathematics. It brings kids together. It gets them away from their phones for a little while. It builds and strengthens friendships. It teaches team building. It helps with depression and isolation and various social issues. It’s used by teachers. It’s used by social workers and therapists. It’s an incredibly powerful teaching tool. D&D can literally save lives.

Wizards of the Coast has an Educator’s Resource page with tons of material that might help parents understand the value of D&D.

The Gameplay of D&D

It seems like the only way to start playing D&D is to read a large book with a bunch of complicated rules, round up a posse and hope a confident DM shows up and sends you on a killer adventure. That can be intimidating for someone new. How do you introduce excited, but overwhelmed newbies to the game?

It’s actually not nearly that bad. D&D Starter Sets include everything you need to play the game and go for about $10 to $20 with just a couple of booklets and some pre-generated characters. The rules can get a little crunchy sometimes but those big thick books are like 80% spells, monsters, and magic items. The actual rules — including the core rules — are very easy to pick up. Grab a 20 sided die. Roll it. Add a modifier based on what you were trying to do. Match that up against a difficulty class (a number between about 10 and 25) and if you’re at it or higher you succeed. That’s about 80% of the game.

Here’s an article with more on getting started:

“Getting Started with D&D”

What ultimately, is the objective of D&D? Are there winners and losers, and how are those terms defined in the context of D&D?

The true objective is to share in tales of high adventure with your friends. That’s the ultimate goal. Each adventure or campaign usually has its own theme or objective as well – kill the vampire Strahd before he destroys the land of Barovia; stop the rise of the dragon god Tiamat; end the scourge of the giants; save your planet from the destruction of the astral elves. Some campaigns change objectives as the story changes.

There are no winners or losers in D&D as players. D&D is all about watching the story unfold as you and your players play through the game. Objectives come and go. The story grows as you play.

What are the skills required to play the game, average time commitment, and what type of personality is likely to enjoy it?

The skills largely depend on whether you’re a “dungeon master” (the person running the game) or a player. For dungeon masters, you need to have enough leadership skills to get the group together and explain the game. You need to be able to think a little bit on your feet as things play out in ways you didn’t expect. You probably want to enjoy reading, there’s a lot of material you can digest to make your game better. For players, having a good imagination and a willingness to work with the other players to build out an enjoyable game are the most critical skills. If you want to be a real hero — take notes. Your DM and players will love you for it.

The game takes about two to four hours to play at a sitting. Campaigns can be short — just one session — or go on for many months and even years. Some campaigns have been going on for three or four decades!

What is the smallest number of players you would recommend for a successful D&D campaign, and if a new player wants to join a campaign party, how might they find these people in real life?

You can play with as few as two – one DM and one player. The boxed set called the “D&D Essentials Kit” has rules for “sidekicks” so one player controls two characters. I played a couple of campaigns this way and loved it. Here’s more:

“Running One-on-One D&D Games“

The most common way people find others to play D&D with tend to be the following:

• Friends and friends-of-friends.

• At local game shops and hobby shops that sell D&D stuff or host games.

• Online through places like Discord, Meetup, and other D&D LFG places on the web.

• There are some websites now built to help people find games. Startplaying.games is one example. Roll20 also has a good "looking for group" forums.

The easiest way to play D&D is to run D&D. Many DMs found themselves in the seat as a DM simply because they were eager to play and no one else was willing to run it. Then they kept doing it for 40 years.

Can players bring an existing character into a party that already has an established inventory, skills, levels, etc., that they’ve built up over a number of campaigns? How does that work, and are they taking advantage of inexperienced players?

This works best with a type of play called “Organized Play” or the “Adventurer’s League”. These are shared campaigns with set adventures you can play in game stores or online. In these shared campaigns, your character can go from table to table or adventure to adventure run by different DMs and still stick with the same character.

Alternatively you can enjoy trying new characters out in each campaign — building your character to suit the story of the campaign and the world or area in which it’s set.

The Internet has really changed how the game can be played. What are some of the unique challenges of playing over Discord and do you recommend this for less experienced players?

The internet has definitely changed things. Of the groups I’ve polled about half are playing games online and half in person. It was as high as 70% playing online during Covid. Playing online has its advantages and disadvantages. There’s nothing quite like seeing real people sitting around the table with you but digital tools also make some parts of the game significantly easier like mapping and using tokens to represent monsters and characters.

Here’s more on this topic:

“Two Years Playing D&D Online“

Do you have any parting words of wisdom as a D&D DM and game master?

Sure! Here are my top tips for DMs new and old:

• Let the story unfold at the table.

• Set up situations and let the characters navigate them.

• Be on the characters’ side.

• Use tools and techniques that help you improvise.

• Focus on your next game.

• Build your world from the characters outwards.

• Pay attention to pacing.

• Focus on the fiction first and mechanics second.

Many thanks to Mike for spending his time with our Lunar Awards community. When he is not acting as DM, you can find him hanging out in the following places:

• Sly Flourish

• Sly Flourish Patreon

• Sly Flourish YouTube

Please join me in welcoming full-time indie science fiction author Joshua James for our first interview. He recently released Awakened, the fourth book in the Saturn’s Legacy series. James has written more than 50 novels, and I quickly learned is a disciplined writer who enjoys crafting an entertaining thrill ride for his readers.

The Reader Crew

A Twilight Zone book? Sort of...

Awakened is easily the most unique book I’ve ever published. There are a few reasons for this, but first and foremost is the fact that this is a Twilight Zone book. What does that mean? Essentially, this book is comprised of several short adventures that each have their own little twist or climax…

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3 years ago · 4 likes · 4 comments · Joshua James

It says on your Amazon author page that you've been both an accountant and a graphic designer, and now you're writing. Those are all very different fields. Is this what you imagined you would end up doing, or did you have other plans?

I'm pretty sure I wanted to be Superman when I was kid. Also at some point I got obsessed with hot air balloons and decided I wanted to fly those for a living (sort of Superman adjacent). I'm not sure that I ever thought about writing as a career, although I was a voracious reader of science fiction as a teenager. That love of reading science fiction is probably the common theme that I've carried through my adult life and all the various careers I've had. Self-publishing is just my latest career (at nearly 50 I've had a few), and it only makes sense that if I'm going to write anything, it's got to be science fiction.

I step into an elevator with you, we strike up a conversation and you tell me you're an accomplished science fiction writer. Ooh, I love science fiction. What book of yours should I start reading first?

Hopefully it's a slow elevator so I can get you to narrow that down a bit. Science fiction is a big tent! If you like Star Trek-style stories with lots of action, I'd probably point you to Fleet Ops, which is a series I cowrote with another self-published science fiction author. But honestly, the chances that my specific brand of science fiction lines up with a random person I run into in an elevator is incredibly small. And that's good! I'm not writing for most science fiction readers. I'm writing for my weird little band of specific fans.

All of your books involve spaceships. Can you give us the lowdown on why that is? As a follow up, do you believe in life on other planets?

I write the stuff I like to read! I grew up with cheesy, bombastic science fiction. Big ships. Big space battles. Big action. That's my bag. I read cerebral science fiction from time to time, but I've never been inclined to write it. I get bored easily as a writer. When I write, I want to have a big stupid grin on my face. I need my space battles!

(A side note that James did not answer the question about life on other planets, and we must assume he is either an alien himself or is part of an intergalactic collective trying to keep it all a secret.)

Most science fiction and fantasy books run as a series in a larger epic. You have a few as well. Is that done at the request of your readers, or is there something attractive about that as a writer?

I definitely planned it this way. It allows you a lot of flexibility. For example, you can discount the first book, or make it free. You can run sales on the series as you release new books. You can make decisions based on sales as to how long you want to make it. And you can box them up into a box set later. Just lots of upsides to series writing and my genre lends itself to series writing.

What do you think makes for great science fiction?

This might be a cop out, but I know it when I see it. Otherwise... it just feels like SF can be almost anything. Like I said earlier, it's a big tent. I'm just hawking my wares from a tiny booth in the corner.

Like many indie authors (me included), you mention that the traditional publishing route dampened your enthusiasm. What would you say to an aspiring author who wants to self-publish for the same reasons?

Learn everything you can from the self-published authors in your genre. Reach out to them. I've seldom met an author that wouldn't chat with me when I was starting out. Go to self-publishing conventions, join self-publishing Facebook groups, learn about courses you can take. There is a TON to learn about self-publishing and just writing something and throwing it out into the world and thinking it will find readers is a terrible business plan.

You have quite a bibliography of published work, and on your Substack About page you mention that you're sharing works in progress, about 10-20k words per week. What does your daily writing routine look like?

I should update that! I stopped doing that after a while because nobody seemed to care, which is just as well. I usually need plenty of editing. I write in 30 min sprints every morning, Pomodoro-style, usually along with a buddy of mine who also self-publishes. We take turns timing and share our word counts after each sprint. I usually pump out 4k words or so after a couple hours. I'm a relatively quick writer. Back when I was first starting out, I'd write 10k words a day! I don't do that anymore. 5k words is a big day now and I mostly take weekends off.

What does your publication process look like, start to finish, for your books? For example, do you use beta readers, editors, proofreaders or cover designers? If so, where do you find them?

I use all those things! Beta readers just came naturally as I gained readers. And I hired all the others based on word-of-mouth recommendations from successful self-published authors when I was first starting out. That's the best way to do it in my opinion. If you don't know enough self-published authors in your genre to get recommendations ... well, you need to get to know more self-published authors in your genre! My process is pretty simple. Write the story as fast as I can. Have a lot of fun with it. Take a couple editing passes to clean it up. Send it to my editor. Send it to my beta readers. Create the ebook and blurb and get it uploaded to KDP. Tell my readers. Set up my ads. Let it rip and stop thinking about it. Get on to the next book. Have fun. Repeat.

Marketing is very difficult for a lot of indie writers, and social media has become a huge drag. Getting genuine reviews proves to be even more difficult. What does your marketing strategy look like, including any paid advertising?

When I was first starting out the landscape was pretty different. But even then, I found that using paid advertising was pretty critical for me. Nowadays, I set aside a marketing budget for everything I release. I always have a release plan. It usually starts a few weeks out with beta readers and I'll schedule a few slots in paid newsletters that focus on my genre, then maybe check in with a few author friends in the genre who might be interested in promoting to their readership. When I release, I tell my list. I typically have ads running on a few platforms like Amazon and BookBub, to direct genre readers to the book. Then I usually turn off my ads after a couple weeks and let the Amazon algorithms kick in and carry the book from there.

Where do you find conventions, author fairs or events to sell your books? Do you have any favorites?

As far as conventions go, I'd recommend 20books as the best one for aspiring indie writers. It's also the best FB group to join. From there... well I think you just have to dig into your genre and you can find other stuff going on. There's always something.

Thousands of alien spaceships show up in Earth's orbit. What's the first thing science fiction author Joshua James does?

Nothing useful. Probably wish he'd developed more valuable skills in life.

The Reader Crew

This is the only place to get updates, giveaways, and cool swag from science fiction author Joshua James. Always free to subscribe. (And every subscriber gets a free ebook.)

By Joshua James