[00:00:00] Speaker A: Foreign.
[00:00:07] Speaker B: Hello and welcome to Small Publishing in a Big Universe. I am your host, Lisa Jacob. Welcome to part two of Live from Worldcon Lacon 5.
[00:00:19] Speaker C: This is Small Publishing in a Big Universe. Live from Worldcon 2026. I am your event host, Brian C.E. buell, and I have with me Yara
[00:00:29] Speaker D: Abrams, also known as Euphratea.
[00:00:31] Speaker C: Could you tell us a little bit about your books?
[00:00:33] Speaker D: I have two books. They're book one and book two in my first series called the Last Ray of Hope. It is what I like to call a satirical isekai with love. If you're not familiar with isekai, it's Japanese for another world, so it's also known as portal fantasy, where somebody goes from the real world to the fantasy world. And it's also a reverse isekai, where somebody comes from the fantasy world and comes to the real world as well.
[00:00:58] Speaker C: With traditional isekai, you have to die to go to the other world, don't you? Or is that not the case?
[00:01:03] Speaker D: So there's a number of different ways you can get isekai. The one where you die and reincarnate is certainly one of the ways. Divine intervention can be another way. It can also be the chosen one. I've read some where you're literally selected from another world to fix a problem in the other world. So there's multiple avenues to being sent to another world.
[00:01:23] Speaker C: So what got you started writing these specific stories? What got you into isekai origin story
[00:01:28] Speaker D: is I am an elder millennial, a xennial, a tail end Gen Xer, depending on what calendar you follow. I grew up liking video games in a world where if you brought your Nintendo Power into elementary school as a young girl, you got made fun of because you were a girl who liked video games. That's okay because I started collecting anime on VHS and laserdisc when I could find it. So my origin story starts when I was really young, but then I grew up, but I still like the things I like. And I got a day job like you're supposed to. And then the pandemic hit. I have a really serious day job and I really needed some absurdist escapism. So that's what I decided to write because I needed to read something that took me away from the pandemic. And I ended up writing something that is really about escaping the world, but it also is a little bit about the grass isn't always greener on the other side of the portal fantasy either.
[00:02:23] Speaker C: So you have the first two books. Is there going to be more in the series or is it a complete series now?
[00:02:28] Speaker D: So actually I got started by publishing on Royal Road, which is a website where you can serialize your story. And so books 3, 4 and 5 are serializing now on Royal Road. I'm actually on the fifth, which is the final. So yeah, there's five books in total and I'm in the final arc writing it. I took a break this week because I'm here at worldcon, but I'm in the final Big Bad Evil Guy event. And yeah, I'm going to be almost done. Book two came out last month. Book three is on as soon as I go back home. I'm supposed to start editing because the narrator, Tess Irondale is on the books to narrate my third book early 2027.
[00:03:07] Speaker C: So you said the fifth book is the final one. Do you have plans for beyond this series?
[00:03:11] Speaker D: So I am actually serializing another story on Royal Road. I just started. It is a. And hold on. It is a cartoon style lit RPG set in the 1930s. I'm a huge fan of Warner Brothers, Disney and Fleischer cartoons from the era. So I decided to write a lit rpg. But instead of it being from a video game, it's going to be from that era using some of the mechanical and electrical machines before there were computers as sort of becoming the system.
[00:03:43] Speaker C: What's a day in the life like for you putting these together?
[00:03:46] Speaker D: So I write one chapter at a time. I don't start a work without knowing the ending. In my day job I'm a quality improvement coordinator and for quality improvement I end writing a book. There's three questions. Where am I now? Is the first question. Number two is where do I want to be? So in terms of novels, that's how do I envision the ending? And then third is how do I get there? So most people actually mix up 2 and 3. They start to go and quite quality improvement project where they just start to go but they don't know where their destination is. I work a little differently. I know my ending and I write by beats. So a lot of people on Royal Road will talk about writing so many words a day or so many words in a chapter. I actually structure my chapter with beats. What do I want to accomplish within that chapter? So I have a Helter Skelter outline of where I want to be. I don't always follow the plan. I am a rules breaker. You will see that in my work. But basically because I also have a day job, I try to write a little bit every day, but usually I end up not being able to do so because life. But I set aside time when I can write and then immediately when the chapter is done, I do a quick edit pass. If I'm happy with it, it goes onto Patreon first, but then I also put it onto Royal Road. So Patreon, they get the chapters the quickest, but it all goes out to Royal Road, which is free for readers. And then later on, if I'm taking off a book to edit it and have it come out through Amazon and publishing and paperback, I let my readers know in advance, like, hey, in a month I'm going to have to pull this down because of, you know, obligations. So if you want to reread it again quick before I edit it and make it a little more professional, a lot more professional when it goes through the hands of my publisher, now's your chance.
[00:05:31] Speaker C: Now, if you met somebody that looked at your work and really loved it and they wanted to do what you do, what's the, what's the key advice that you would want to give them to help them along the way?
[00:05:41] Speaker D: So I started really irresponsibly. First of all, I didn't have a Discord account.
I didn't know that there was a cadence to how you should post. I had no idea I should have started a Patreon. And every step of the way, somebody said, hey, why don't you have this? What are you doing? And the answer was, because I didn't know I was supposed to. So if somebody was starting off and said, I want to post a few chapters to Royal Road, I would say the first thing I would do is go to Reddit's look at the Royal Road subreddit. There is so much information there from fellow writers sharing data and information about how to be a Royal Roadie and a Royal Road author. And a lot of it is having a few chapters in your backlog, starting your Patreon early, posting consistently joining a Royal Road writer, Discord, which you can find on Reddit. There's open invitations to Discord, learning about things like Rising stars, where you get more visibility, reaching out, working with fellow authors. The neat thing about Royal Road is you can do something called an author shout out in your pre and post chapter notes where you can basically advertise your friends. And there's so many tools out there and the community is really good about sharing them. That's what I'd say. Don't go it alone. Take this.
[00:06:58] Speaker C: Excellent. Thank you so much. This has been great.
[00:07:02] Speaker A: Hi there, this is Vanessa McLaren Ray.
And I have here with me Dan Ritter of First Fandom Experience.
I'm going to start with what the heck is First Fandom Experience?
[00:07:16] Speaker E: First Fandom Experience is a collaborative publishing project we started in about 2019.
Our goal is to honor, preserve and bring to life the history and impact of science fiction and science fiction fandom. We focus on the origins of organized fandom starting in the mid late 1920s and stretching about two decades to 1946. There's a lot more to the story of fandom that stretches before and after this period. But this is the window that we have chosen for ourselves to focus on.
[00:07:49] Speaker A: So are you publishing short form pieces online? Are you publishing books? What's the nature of the product?
[00:07:55] Speaker E: Our core work are books. They are big Honkin nine by 12, hardcover, 550 page books. They are six and a half pounds each. And we've had people come by our tables and say, I would buy this if I didn't have to fly home because I can't fit it in my thing. But the way we try to. The history. Our main series is called the Visual History of Science Fiction Fandom. And we call it the Visual History because our work leans primarily on the primary artifacts that were produced at the time. So in the 1930s, the 1940s, science fiction fans are corresponding with each other. They're producing tons of fanzines and they're creating a film, ephemera, physical artifacts. And we have spent an incredible amount of time and energy collecting these artifacts, trying to preserve them and digitizing them. And in our work, we try to tell the story of science fiction and fandom primarily through the original artifacts, through the words of the fans as they spoke them at the time.
[00:08:52] Speaker A: So you're generating a primary research resource.
[00:08:56] Speaker E: Yeah, that's our goal. We want to be adding to the historical record as much we can. I would kind of break our work up into two parts. One is the archival part, trying to collect and preserve the original artifacts, facts from the period. And then the second part is presenting them and sharing them. Fans are nothing if not verbose. They love to tell their own stories. So we can look back at all these examples and, and say, instead of us telling you the story of the 1939 World Con, why don't we share with you the accounts of the fans who were there that wrote their memories of them shortly after that period. And then we go through it, we add context, we editorialize a bit, we do a lot of fact checking because fans are, if nothing else, also a little bit biased in their opinions on, let's say, a disagreement that happened or something like that. So we're doing research and we're threading context and editorializing and fact checking and trying to help structure the narrative of the history all throughout this. But the bulk of the material that you would see in our work are primary artifacts from the period.
[00:09:54] Speaker A: What got you interested in doing this? This is a big task to take on, and I gather it's not just you, so.
[00:10:00] Speaker E: But it's not just me.
[00:10:01] Speaker A: What got you all interested in coming together and making this project so a
[00:10:07] Speaker E: little bit of a story. So the project was started by my dad, David Ritter, who's still involved. He's our editor in chief, and he's been a science fiction fan forever. He is particularly interested in EE Doc Smith. And he did a thing that a lot of fans do, and he said, I want to read everything that EE Docsmith has ever written. So you go through the common stuff. Okay, great. I read the Lensman, I read the Skylark. I read all his very popular things. And he started digging deeper and he found a short story called what a Course. What a Course was published as part of a serial novel project that was started by a group of fans in the 1930s. When he discovered that this story originally appeared as the result of a fan project, he kind of went down the rabbit hole and lost his mind. He discovered the whole world of what science fiction fans were up to in the 30s and 40s. All of the people, Ray Bradbury, Isaac Asimov, Arthur C. Clarke, who were teenagers in this period and began as amateurs, who then went on to become professionals. Yeah. And he just kind of lost his mind and started collecting this material. We were getting really deep into it. And then me, personally, I've also been a science fiction fan for a long time. I was working in digital media production for almost a decade. I was.
[00:11:14] Speaker A: I see a connection here.
[00:11:15] Speaker E: So, yeah, then I was complaining to my dad one day about the work I was doing and saying, I'm just really not happy in this role anymore. And he said, I've got an idea for a project. Why don't you quit your job? That was almost seven years ago. And here we are.
Yeah.
[00:11:30] Speaker A: So who else is involved in this collective? So we have you, your dad still involved.
[00:11:34] Speaker F: Yep.
[00:11:35] Speaker E: So we're really fortunate to work with a couple of phenomenal people. One of them is named Rob Hanson. He lives in the uk and he is, I would argue, the preeminent fan historian of the uk. But he doesn't just do UK fan history. He's also written books on LA fandom. Pixel House is a fantastic book. It's available online. You can find it. And also a collector himself. We work with a woman named Sarah Light Waller at Lucina Press. She is more of a pulp historian and a pulp artist, and she brings a very compelling angle to our work because we have compulsively focused a lot on the fandom side, and she kind of brings a bit more of the professional pulp perspective. And her horizon is also a bit broader than science fiction, so she can kind of bring in a broader context to our work. We also work with a librarian out of Rutgers named Sam McDonald and we also work with John Kocher. So John Coker is the president of a foundation called First Fandom. Our name is related to the name of that foundation, but distinct. First Fandom was an organization that was established initially by fans who had attended the first World Science Fiction Convention in 1939. And it was basically a. I don't want to call it just a social club, but it was kind of a social club for the surviving members of that convention. Unfortunately, nobody who attended that convention is alive anymore. But First Fandom foundation continues its work trying to honor and preserve the memory of the earliest fans by conducting the first Fandom Awards at the opening ceremonies here at worldcon. So those awards went out just a couple of days ago.
[00:13:04] Speaker A: So you're partaking of something and participating in something that started in the 1930s. And you folks can't see him. He's not anywhere near that old.
[00:13:14] Speaker E: Yeah, I am a 36.
[00:13:15] Speaker A: Yeah.
So, so what's your next project on the horizon?
[00:13:19] Speaker E: So our next project we are in, we've got about 98% of the fourth volume of the visual history written. And now it's going to start entering the production process. And we're hoping to have that out in March of 2027. The visual history of science fiction fandom. There are three current volumes. The first one is a survey of the decade of the 1930s. And this kind of covers the origins of organized science fiction fandom. The second volume covers just the one year, 1940, because by the time the first Worldcon has passed, the amount of science fiction being written and the amount of fan and amateur activity around the genre explodes. So we did a 9x12 550 page book just on the one year, 1940, and we thought we could do 1941 and 1942 in one volume. It didn't work out. So 1941 is its own big volume, then volume four. That's forthcoming will be the War Years. So we did manage to cram that all into one book, but it covers 1942 through 1945. Very interesting period in science fiction and fandom. And as one could imagine, the amount of science fiction being published and the amount of fan activity happening is dramatically changed because of all of the US fans and science fiction authors who are called away because of the war. And we'll capstone our project with volume five, which we'll cover 1946, and that kind of bookends our chosen period to focus on.
[00:14:42] Speaker A: You'll feel like you've completed something then.
[00:14:45] Speaker E: Yes, I hope so. I think at that point, even we won't feel done because there are all these other stories to tell in fandom, as comprehensive as we want to be. We can only put so much in the books. And there are a lot of stories that we touch on or survey briefly that demand more attention. So we have done a couple of what I would describe as deep dive publications on specific people or stories that we found interesting. So, for example, we published a book called the Earliest Bradbury, which is a deep dive on Ray Bradbury's work. Before he became a professional, he was an amateur, a science fiction fan in the Los Angeles area. Very relevant to Lacon here, roller skating around and bothering celebrities for their autographs. And one day he bumps into another science fiction fan at a used bookstore looking for old pulp magazines, and they say, hey, come join the next meeting of the Los Angeles Science Fiction Society. And, you know, the rest is history. He meets Robert Heinlein, he meets Lee Brackett. His life changed. You could do the what ifs all day about what happened to Bradbury if he doesn't fall in with that crowd at that time. But it's just a fascinating story and there's tons of material that he produced as a fan at that period. So we've done projects like that, and there are many more projects like that that as long as we have an appetite and as long as people keep responding to our project, we're going to keep doing it.
[00:16:04] Speaker A: What do you do to acquire these documents and artifacts?
[00:16:08] Speaker E: My dad has been a collector for a long time. I think. I think he would say at least 20 years, potentially 25 years of just him as an individual going to trade show, looking on ebay, going at ABE books, and just acquiring all of the material from this period that he can. We coordinate with other collectors who have private collections. So Sam McDonald and Rob Hanson in particular, have tremendous collections of fan material from this period. And we also Collaborate with university libraries. So we will request scans from them. We try to develop good relationships with those archivists and those librarians to get access to those materials. And we will also go to university libraries and dig through their unindexed and unsorted boxes of material, because unfortunately, a lot of this stuff hasn't been organized and digitized. For example, after the show, we're going to the Eastern New Mexico University in Portales, New Mexico, which is like three and a half hours from the nearest airport. And they have a bunch of papers from Jack Spear, who is an incredibly prominent fan. We know they have a bunch of boxes of his material. Nobody knows what's in them, not even the librarians. They say, we've received these a long time ago. Nobody's been through them in decades. We just don't know what's in there. So we're gonna go there and we're gonna spend a couple of days and we're gonna go through it and see what's there. Yeah.
[00:17:23] Speaker A: So it's treasure hunting.
[00:17:24] Speaker E: It's treasure hunting. Yeah, it's. And it's. Sometimes you hit jackpot and you find something of very interesting historical significance. And a lot of the time, you find a bunch of receipts for their dry cleaning in 1964 or whatever.
[00:17:39] Speaker A: Yeah. Which could be interesting. That isn't quite the thing.
[00:17:41] Speaker E: Not quite what we're looking for. Yeah. That's for another historian.
[00:17:44] Speaker A: We're short on time a little bit. But tell me the most surprising or strange thing you have found in one of your treasure hunting excursions.
[00:17:53] Speaker E: Ooh, most interesting. Okay. Yeah.
[00:17:56] Speaker A: One superlative and interesting and surprising.
[00:17:59] Speaker E: Yeah.
[00:17:59] Speaker A: Discovery.
[00:18:00] Speaker E: So we were digging through boxes of material that belonged to a private collector, and he had, you know, I don't know, maybe 50 gigantic boxes of material. And we had limited time, and we were only able to get through so much of it, and we had no idea what we were going to find. We suspected that he had early fan material in there and potentially rare fan material in there. But it was as we started going through these boxes, they were buried in just stacks and stacks of stuff from the 50s, 60s, 70s, 80s. And like, every four feet of digging through, you know, sacks of paper, we would find something from our time period.
And one of these moments, we pull something out and we're like, what is this? And it turns out to be a copy of a fanzine of which only one issue was ever produced. So this is not even like, oh, there were 30 issues that got distributed. It was literally one issue. And the entire Magazine was, was, was handwritten and hand illustrated. We'd no idea this thing existed beforehand. It didn't appear in any of the indexes or commentary that we had seen before. And it just absolutely rocked our world because one, it's insane that it survived. And it was something that as researchers you often know what you're looking for because they've been referenced or indexed at some point somewhere. This was a truly just a surprise because we didn't know it existed. And it's just a phenomenal creation. It is a satirical newspaper set about 100 years in the future, or 100 years in the future from the period it was written in the early 1930s. So we would be coming up on it soon from Mars. And every single centimeter of every single page of it is handwritten and hand illustrated. I mean it's just phenomenal and fascinating and has led to a lot more questions about where it came from and the person who made it. We've answered a few of them, but it's still a very open ended thing.
[00:19:43] Speaker A: Yeah, yeah. So now everybody wants to see this.
[00:19:46] Speaker E: Yeah. So this actually we did a blog post about this particular artifact on our website first fandom experience.org yeah, we blog there and we did a blog post on this fanzine in particular. And the whole issue was, there's images of the whole issue available.
[00:19:57] Speaker A: Yeah, first fandomexperience.org that's right. So go there and I want to thank you.
[00:20:03] Speaker E: Thank you for taking the time to sit down with me.
[00:20:04] Speaker A: Thank you, Dan.
This is Vanessa McLaren Ray, live at Worldcon 2026, otherwise known as Lacon 5. And right now I'm here with Kim Iverson Headley, who is an author of many, many, many books. And if you're here at the con, you, you would only have about four more hours, but you can get everything through her website. So Kim, why don't you tell us about your most recent series?
[00:20:35] Speaker F: Back in 2006, my literary agent came back from Book Expo America that year with a message to his clients saying that he met a publisher who was actively seeking sequels to 19th century authors works. And I said, hey, what about Mark Twain's a Connecticut Yankee in King Arthur's Court?
And they wrote back, yeah, great, as long as you update it for the 21st century.
So that is the thrust of what I now call my Twainian fiction.
I started with Morgan Le Fay because she's the only major character Twain did not kill off by the end of his story.
Always helps to have your character alive and kicking. She Is of course a notorious sorceress and seductress. She tries to cast a spell to get to Connecticut of 1879 because her spies were that good and knew this. The spell. It is no spoiler to say that the spell failed by 300 miles and 200 years. The spoiler is why she lands in the middle of the of the Maryland Renaissance Festival, which is a thing, a long running thing of 2079. So I call it my science fiction fantasy crossover and her magic versus future technology. And let the fun begin.
[00:22:04] Speaker A: Awesome socks. So I just want to make it clear that people could buy your edition of the Connecticut Yankee and King Arthur's Court to pair up with the two stories which focus on Morgan le Fay.
[00:22:15] Speaker F: Well, and three stories now. So I had the literary cojones to make Twain's book be book one in the Boss Bundle trilogy. So the edition you're looking for to pair with my other two novels in the series are published by Pendragon Cove Press. That is my imprint. Book two is King Arthur's Sister in Washington's Court because she ends up getting involved in future politics. And why not? And then my most recent release is King Arthur's sister. The once and future Queen Morgan does not meet Hank Morgan in book two, but in book three, they do meet. And book three not only brings Queen Morgan's developmental arc full circle, but it also brings the Yankees Hank Morgan character full circle as well.
[00:23:11] Speaker A: So this is a complete story. So get them all. Don't start with the one that's on your shelf of Connecticut Yankee because then you'll be a little bit confused.
[00:23:20] Speaker F: Well, it's not so much confused. My Pendragon Cove Press edition of A Connecticut Yankee in King Arthur's Court adds value.
I caught the old master out in a couple of major content errors. In one case, he refers to another, a character out of another author's book by the wrong name. And I corrected that and I annotated that. And in another case, he introduces Smug, the master wheelwright and Dickon, the master mason in one chapter and two chapters later he reverses their professions.
So yeah, I don't think anybody dared to edit him at that point. The other thing I learned was that in fiction, you see today, if you read the copyright page, you'll see this is a work of fiction. Any resemblance to any characters, blah, blah, blah. You know, not so with Twain. He wrote about actual people, events and places that probably were well known to his audience of 150 years ago. His book was published in 1889. The first edition. So I took it upon myself to research those. Some of them I knew, but maybe most of them. But some of them were I had only heard about it. I wanted to give more information for the reader, and so I annotated those as well. And this edition also because the art from 1889 is now in the public domain, this edition has that art in it. And whenever I knew a fact about the art, I annotated that as well.
[00:24:50] Speaker A: See? So you're also getting a history lesson in the most palatable form possible.
Thank you. Internally, I'm thinking High school teacher. Here is a resource Would you like to talk about your other major series
[00:25:02] Speaker F: in my boss bundle? I ended up redeeming Morgan Le Fay from 15 centuries of bad press. The first novel that I ever had published is titled Dawnflight. It was published by Sonnet Books, which is an imprint of Simon and schuster, back in 1999. That book I was on a mission to redeem guinevere from 15 centuries of bad press. If you're at all familiar with the publishing industry, Sonnet Books is a romance imprint. Neither me nor my literary agent actually considered Dawnflight to be a romance because my Guinevere character, whose name is Guyne Amara, she doesn't meet Arthur until like chapter 10. That is not romance novel structure. And then they don't end up drooling over each other on every other page after that, which is also not romance novel structure. There is a very deep theme of she was betrothed to someone else by treaty, and then she realized that Arthur was her soulmate and he the same, but they couldn't admit it to each other because the person she was betrothed to was Arthur's biggest political rival and the class A jerk would have caused a civil war over this whole thing.
So they're trying to figure out how to get together. And if you look up reviews on Amazon and Goodreads and whatnot, you'll see some reviews that'll say, well, I know they're supposed to get married by the end, but how? Well, mission accomplished.
[00:26:36] Speaker A: So obviously you are a really huge a fan or a critic of the Arthurian cycle. Are you daydreaming about another aspect to take on when you finish your current
[00:26:49] Speaker F: well, so DawnFlight is book one in a series that I call the Dragon's Dove Chronicles. It was originally going to be a six book series, but now it's going to be eight. I just recently released a novella, so I'm not calling that book four. It is what I'm calling the bridge novel volume 3.5, because it literally picks up after book three ends and before book four begins, because those events don't belong in book four by the structure. It's a standalone in a way, and the title is Lost Son. It's only about 15,000 words, but it packs a lot of punch in the themes of grief and guilt and survivor's guilt and things like that, because people have lost loved ones in the battle and they've survived and things like that. There's another aspect of being lost that I'm not gonna talk about because that would be spoiling it too much. No spoilers.
[00:27:55] Speaker A: No spoilers. Yes, in your upcoming book, you seem to be taking a side trip, so tell me a little bit about your upcoming book.
[00:28:04] Speaker F: So the next book that I plan to release is nonfiction. The title is Jessica's Call to the Sea Marine Science for the Curious Heart.
The story behind this book is that my daughter was she graduated from Coastal Carolina University in South Carolina, which is renowned as being the best undergraduate marine science course on the east coast. And she graduated with such a heart for conservation, not only of the world and use of plastics and reusable bags and things like that, but of the ocean in particular.
And one of her career goals was to get into coral research so that she could learn how to better help the corals come back and protect coral and so forth. She passed away in 2021. Covid hit she had to stay home because she was non essential employee. So she began a blog and her goal was to write about marine science topics in lay terms so that anybody could relate.
[00:29:17] Speaker A: We're in the good bit here where
[00:29:19] Speaker F: this is the good bit of the book. So but cancer had other plans took her in a year. She is now part of two different reefs. In 2022, half of her remains were placed in a reef off of Ocean City, Maryland.
And just in June of this year we placed the rest of her remains with the help of Coastal Carolina University.
And they did not charge us a dime for this because it's a research block that they incorporated her ashes into and it will have instrumentation on it that will measure salinity, temperature, counting fish, that kind of thing. I know Jessica would have been the work continues. The work continues and she is still and her husband had released her photographs to me. She was an amazing photograph. The COVID features one of her photographs of a peacock mantis shrimp at the National Aquarium. I am in the process of doing the final layout of her text and photographs and I'm hoping to have that book released by the end of this year.
[00:30:27] Speaker A: Okay, so that's a thing to look for around Christmas time?
[00:30:30] Speaker F: Yes, ma'.
[00:30:31] Speaker D: Am.
[00:30:31] Speaker A: Yes. Well, I feel honored to have heard that part of the story.
[00:30:35] Speaker F: Oh, thank you.
[00:30:38] Speaker B: Thanks to our event hosts Brian C.E. buhl and Vanessa McLaurin Ray, we plan on publishing a new episode every month. If you want to know more about small Publishing in a Big universe, visit our
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