059 - Exploring The Deadlands With Katherine Silva - Weird Reads

Episode Transcript
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Speaker 1 (00:10):
You're listening to the Weird Reader podcast, an extension of
Jason's Weird Reads found on YouTube. Welcome, Welcome to episode
fifty nine of the Weird Reads Podcast. I'm your host,
Jason White, and this week I welcome Katherine Silva to

(00:34):
this show. Now, you may remember when I was talking
to Todd Keasling a couple of episodes ago, I asked
him the typical question who do you wish people were
talking more about? And Katherine Silva was one of the
ones who came up. And at first, honestly, I did
not recognize her name. But when authors go through their lists,

(00:58):
when they're talking about these authors, there's when I asked
that question, I always write down. I write down the
answer as there. You may notice if you watch on
the videos, I'm writing down their answers. And this time
it's funny. It's like Catherine Silva. I wrote it down,
and then I looked at Hi. I'm like, oh, Catherine Silva.
I know her, not personally. I've never talked to her

(01:19):
up until this interview, but I've been meaning to read
her for a long time. And so I went and
I decided I went and bought her dead Fall series.
Or at least the first book the novelettes or novel novella.
I forget how big. It is pretty short though. Anyways,
I was about halfway to three quarters of the way

(01:40):
reading through it and I was like, yes, I got
to talk to Catherine Silva. You may have noticed that
there is a lack of women writers on the show,
and I want to fix that. So Catherine is one
of the first. Hopefully within the next year or so
you will to hear a lot more women voices, women

(02:03):
horror authors on the Weird Reads podcast, and we are
starting with Catherine. Now, before we get started with Catherine,
I just want to remind everyone if you want to
support the show, the best way to do so is
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(02:25):
So if you could do that, I would absolutely appreciate it.
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(02:47):
I like to record, discussing books and Stephen King stuff,
also just general stuff here on the Weird reachs channel.
So my other podcast, Short Bites, is connected to that Patreon,
so go check it out links for that or in
the show notes. And I guess it's no better time

(03:09):
than now to go talk to Katherine Silva. Hello, welcome
to Weird Reads with Jason White. That's me, of course,

(03:30):
your host today. I am very happy to have a guest.
I've been meaning to read and have on the show
for a long time. Today I welcome Katherine Silva to
the show. Thank you so much. Catherine. How are you doing.

Speaker 2 (03:43):
I'm good, Thanks for having me on.

Speaker 1 (03:47):
Do you mind giving yourself a quick introduction? Because I
forgot to write one down I just noticed right now.

Speaker 2 (03:54):
Yeah, I can do that. So hello friends. I am
Catherine Silva CAT for short, and I am an author
of grief and existential horror mainly, though I you know,
can divert into other subgenres here and there, but I'm
a main author. I identify as ACE and I have

(04:19):
been writing horror since twenty ten, so I've been in
the industry for a while.

Speaker 1 (04:25):
Nice now, just as like an Icebreaker, I noticed I
was I was being a creep and I was going
through your your Facebook profile today and I was your
most recent post that I saw anyway, was it showed
a mug with ghosties on it. Oh yeah, and you
were mentioned you mentioned that you were listening to music

(04:46):
while writing, and so I'm always interested in that because
I'm a writer too, and I'm very finicky about music
and writing. So what kind of music do you listen
to while you're writing?

Speaker 2 (04:59):
So it really depends on the project. Some of my
hard and fast like always works no matter what. Is
ambient like soundtrack music. So often things that don't have
words in them that are just kind of like creepy
and unsettling, and they almost sound liminal. I guess that's

(05:25):
that's hard to describe, but but it just always conjures
these images of these sort of vast spaces. And the
one that I always go back to you no matter what,
and what I was listening to yesterday morning was the
soundtrack for a little computer game called Limbo. I guess

(05:46):
it's not just computer it's video game. And it's a
black and white, just like side scrolling game about a
little boy that you're negotiating through what's supposed to be
Limbower the Afterlife, and it's a puzzle platformer and the

(06:07):
music is just very stark and just kind of nurtures
all kinds of frightening feelings. And it's composed by Martin
Stieg or Stig still don't know how it's pronounced Anderson.
And he also did music for Inside, which is another game,

(06:32):
And so those two I've been going back and forth with.

Speaker 1 (06:38):
Yeah, that's sort of a my angle when I said,
I'm very when I'm writing, I can't have music that
has words to it or like favorite songs of mine,
because instead of writing, I'll be like singing along and
like pounding my fists. And you know, I think it's
more of it. It can be more of a distraction.
But if you find that ambient type music, you can

(07:00):
really you can find the zone sometimes so much better.

Speaker 2 (07:04):
Yeah, I get weird about it. I will just put
the same song on repeat, Yeah, And I will go
for hours if I can with just the one song.
And sometimes I can do it with songs with lyrics
because you just kind of like blotted out at some
point you've listened to it so many times. But but yeah,

(07:26):
normally that's my that's my go to.

Speaker 1 (07:29):
I think it depends if how it emotionally attached you
are to that song, Because if I'm really emotionally attached
to a song, it's going to pull me. It's going
to pull me out of the zone, and I'm not
going to be able to start. Yeah, being the creep
that I was, I was also on your your website
and I noticed that you have playlists attached to a

(07:51):
lot of your books. I thought that was really cool.
How do you Because I didn't go through like all
the songs or anything, but I did play some samples
and I was just one, how do you? How do
you create these lists? Do you just do they come
when you're writing the books or do you kind of
like sit down after you're done?

Speaker 2 (08:09):
And no, it's it's a little bit of both. I
guess like most of the time, it's when I'm writing
a book, a particular song either inspires a character or
a scene. A lot of the time I can sit
there and listen to music and then sort of see
or envision what scene I want to write along to it,

(08:33):
and that's generally what happens. That's why it ends up
on the soundtrack. And then sometimes I'll get to the
end of the book and I'll of the writing phase anyway,
and I'll go through the editing phase and I'll think
of something there too. But yeah, the majority of those
playlists are just yeah, things that I was listening to

(08:56):
while I was writing. I felt inspired by.

Speaker 1 (09:01):
Nice getting to how I was introduced to you. I
I was first introduced to you. Actually, I think through TikTok.
I follow you there, and I remember seeing, like I
when I first joined TikTok and started actually enjoying TikTok,
I followed a whole bunch of writers, and you were
one of them, and you used to have like these, uh,

(09:23):
these funny little skits that you used. God, yeah, what happened.

Speaker 2 (09:29):
I haven't done those in so long. I you know,
I had fun with them. And then I get to
a point. I feel like a lot of writers get
to this point where they're like, I don't like being
on camera, Like I don't like I don't like uh,
just it's like trying to come up with with that
kind of like funny content sometimes is really hard. And

(09:53):
and then also just this like like I don't know
if anybody's getting anything out of this, like I'm getting
anything out of this, So I'm I did several and
then things kind of dropped off viewership wise, and then
I was like, okay, Like I don't need to be
on every single platform, like trying to juggle TikTok and

(10:18):
Facebook and Instagram and threads and Blue Sky. It's just
a lot. So I did kind of like stop using TikTok.
I still have it on my phone and occasionally something
goes up every once in a great while, but I
think it'll probably be a while before I returned to

(10:41):
that kind of skit making.

Speaker 1 (10:44):
Yeah, they're always fun to watch, though, I'd always stop
and watch and see what you're going to do next.
So we're here to talk about you, Kat And as
I mentioned before, I started reading the Deadlands trilogy and
I was going to read it. It was just like
for a summer read, right, just for fun. But about

(11:05):
halfway through the first they're like short novellas. I was
about halfway through the first one, I was like, holy shit,
this is really good. And then I emailed you right
away once I had that thought and asked you to
come on. But I so the show was meant to
be geared towards that, but I ended up in researching

(11:26):
you found out a whole lot more than I realized.
So I thought we'd talk about you a little bit
as well. So I want to know what is your origin,
your horror origin story.

Speaker 2 (11:43):
So I've always been a fan of spooky things, you know,
as a kid, I was I was always pulled towards
you know, the spooky eighties and nineties movies and TV show.
I loved Halloween. It's my favorite time of the year.

(12:07):
Grew up in a small town, so Halloween was usually
a pretty big deal, and and so I just always
had this affinity for the spooky. And even as early
as like first grade, I have these stories of that

(12:30):
I would write that were about like haunted houses or
ghosts or things like that. I just really enjoyed writing
about them. And and I think in you know, seventh grade,
or maybe it was later than that. I know it

(12:53):
was earlier than that. It was fourth grade, I had
teachers that would encourage writing of stories, and so I
wrote a horror story about a sting ray, which we
hadn't lost Steve Irwin at that point, so maybe it
was a fore telling the frightening things about stingrays.

Speaker 1 (13:20):
But it's prophecy.

Speaker 2 (13:23):
Yeah. So and then from there, you know, I wrote
horror or you know, sad horror was definitely a thing
that I didn't realize I was drawn to until I
got to I wrote The Wild Dark in twenty twenty one,
and then I was like, yeah, pretty much everything you've
written up until now has been sad in some way

(13:47):
or another. So I guess that is kind of my
sub genre that I'm drawn to.

Speaker 1 (13:55):
You know. I was curious about that because I've noticed
a lot of your books have that grief horror tag
on it, and I was just wondering because I'm kind
of pulled towards the same thing. Uh, but when I'm writing,
it tends to come out more silly, like more fun
and silly centered, if that makes any sense. Like I

(14:17):
like like doing gory things, but I have written some
serious stuff and those are the ones that I like
the most. Though, So I'm wondering, what is it about
the sadness that pulls at you to write it?

Speaker 2 (14:33):
I I don't know. I think I think there's just
something like fulfilling about the the ending of it all
that gets that gets to me. Like I have always
been drawn to stories where something bad happens to somebody

(14:59):
and then they they're able to fight through it and
you know, figure out a way to live with it better.
And that I mean that goes back to films and
TV shows and books and so there's just something really

(15:21):
nice about a story where somebody overcomes their inner grief
and and I think I just have been drawn to
writing that because you know, I've got things that maybe

(15:42):
I'm also trying to work out within myself, and I
feel like I'm getting some kind of cathartic movement through
writing it. But also there's just something that that kind
of stirs in my in my gut that makes me
feel better when I write about that kind of thing.

(16:05):
So yeah, it's it's hard to describe. It's really hard
to describe.

Speaker 1 (16:09):
I think I know what you mean with that, that
stirring in your gut, Like it's not necessarily like I'm
speaking on my own here, but it's not necessarily correct.
But you just know that you you've nailed something that
you wanted to say.

Speaker 2 (16:23):
Yeah, it's and it's I just I like writing things
that make people feel something. Also, it's not like I
I enjoy writing horror I've never been, uh a writer
of like lots of gore necessarily like like some people.

(16:44):
But I do like to induce feelings of dread and
and anxiety and uh and sadness and and compassion, and
that's that all goes hand in hand with writing grief horror,
and also the questioning of the existential bit of it,

(17:07):
which is like the figuring out where I stand in
the in the midst of everything going on around me
and and what is death mean and all that jazz.

Speaker 1 (17:20):
So yeah, it's it's I think it's easier to write
maybe in this day and age because of everything that's
going on in the world right now. It's every day
is a new nightmare, and you can just it's it's
like the story after story of people who are going
through terrible things right now and and not and you know,

(17:44):
there's that fear that you're also going to go through it.
And I think that that fear is something else that
pushes some authors, myself included, to to explore the possibilities,
like the bad possibility when things could go completely so
mm hmm.

Speaker 2 (18:03):
Yeah, I there's there's places I won't go, you know,
in my in my writing that are maybe a little
too close to things that are currently happening. I like,
I want people to be able to escape into the
story without feeling like they're just rehashing a news story.

(18:28):
I guess is the like, there's there's a lot of
bad going on if and U and the last thing
I want to do is make it feel like they're
I don't know, not not finding an escape in in

(18:48):
my story.

Speaker 1 (18:51):
So you mentioned hope earlier. Is hope at least offering
hope to the reader important it is?

Speaker 2 (19:01):
You know, there's I I I play off and on
with that because I do think that, especially now, it's
a really good theme to throw into writing. But but
I have written things before where I, you know, that
nihilistic point of view where you're just kind of like, yeah,
it's all sense listened and there there really isn't any

(19:26):
any reason for the things that that happen or why
they happen, and and and I like that kind of
writing too, But that has its place in certain things,
and and this has its place in certain things. And
and I think I'm kind of on the middle of
a hope journey, I guess, in in my writing stuff.

(19:52):
So that's kind of the stuff that I'm writing right
now anyway tries to infuse hope.

Speaker 1 (20:01):
Yeah, I kind of felt that with the Deadlands and
a full Pine Curse. But we'll get to that shortly.
I want to go back. I just wanted to know,
because this is something I ask all my guests when
they're on for the first time. I love knowing what

(20:22):
they read when they were a kid. Not just what
they read, but I want to know like the writer
or the or like a group of writers that made
you want to become a writer yourself.

Speaker 2 (20:33):
Yeah. When I was a little kid, a lot of
the stuff that I would read were you know, I
think Barbar the Elephant was a big one.

Speaker 1 (20:51):
I read that too, actually, and a.

Speaker 2 (20:54):
Lot of strangely enough, a lot of books that did
not use words, like picture books were huge, like Carl
the Rottweiler, all of those books, Tosca the Cat, things
like that were huge. And then you know, we get

(21:16):
to that age where I'm finally starting to introduce myself
to new things, and it got to be things like animorphs, goosebumps,
certainly Nancy Drew, which my mom and I read together.

(21:40):
And then I was lucky enough to have a library
that was within walking distance of my house, so I
could just walk up there and check out basically whatever
I wanted, which led to checking out a lot of
books that maybe were beyond my age at the time.

(22:01):
So I was reading Michael Crichton and John Grisham and God,
I'm trying to think what else. I think I took
out Children of Men at one point.

Speaker 1 (22:16):
That's a pretty heavy book there.

Speaker 2 (22:18):
Yeah, it's uh, maybe not you know, not for the
age intended. But then I also was reading you know,
I think in high school some of the books that
I most identified with were vampire novels, believe it or not,
things like Amelia Atwater Rhads. I did read Twilight, and

(22:41):
I liked Twilight. Blood and Chocolate was another big one
for me, Like the the paranormal romance book was was
becoming a thing and then it explodes. Didn't got crazy

(23:01):
ye later. But and it wasn't until twenty twenty that
I really started reading horror, like mainstream horror. I was
reading a lot of everything else before then, a lot
of nonfiction. The Devil in the White City is one

(23:24):
of my favorite nonfiction books. Anthony Bourdain. It's one of
my favorite authors people and his cook Oh my god,
I forgot the name of the book.

Speaker 1 (23:39):
It's terrible. I told you about that mindgoing blank thing.

Speaker 2 (23:44):
Oh god, Kitchen Confidential. It's one of my favorite books. Also,
like just reading people's voices and sort of pulling all
of that in.

Speaker 1 (24:02):
Yeah, sorry, go ahead, No, no, no, that was it.
That was way I was just I was. I can
segue here because you talked a lot about vampire fiction
there and your first I believe your first release was Vox,
which is the beginning of a vampire series, and that's

(24:22):
a I guess reflective of your your love for vampires.
Now with when it comes to a love of vampires,
you're You're very welcome here because I love vampires as well.
I even read Twilight. I didn't read the whole series,
but I read the first book, and I honestly I
didn't hate it, but I didn't like it enough to continue.

Speaker 2 (24:43):
Yeah, I mean again, I was. I was fifteen when
I read Twilight, so that was the that was the
age of time. Yeah, and then I think I got
I went to college and I remembered that I found
out there that there were more because I hadn't heard

(25:04):
that there were more, and so I got new Moon,
and I read it and I liked it better than
the first one because it was sad and that's and
that was the whole like impetus of it, regardless of
the fact that it was you know, some toxic shit.

(25:30):
But uh, but yeah, and then most of my vampire
love did not come from literature. It came from TV
and movies and video games of course, with Vampire the
Masquerade Bloodlines, which is a huge inspiration behind Vox and

(25:58):
and Buffy the Vampires Layer course, So I had those
two things in mind when I was working on this,
and I just kind of was like, Yeah, I want
to write my own vampire world. I want my own
set of rules and everything.

Speaker 1 (26:20):
Do you feel you you satisfied that that need or
do you think you'll ever hear do you think you'll
go back to writing vampires?

Speaker 2 (26:28):
Oh? I absolutely didn't satisfy it, mostly because like those
those books came unfortunately at the end of the vampire trend,
which was like that twenty ten era, and I didn't
know a thing about marketing then, so no one read

(26:49):
them like it. They just flopped And it took me
several years to figure that out that they weren't, you know,
I hadn't gotten to a point where people knew me.
I wasn't getting the books out there distributed well.

Speaker 1 (27:08):
So that was it was like back in twenty ten
around there, right, and that was like that was a
turning point in the publishing history. So I imagine that at
that time it was probably looked down upon to self publish.

Speaker 2 (27:22):
Yeah, I mean it was. It was becoming more and more.
I guess you were finding more and more people who
were doing it. But yes, there was a stigma surrounding
it that was pretty heavy. Though I don't think that
that was anything I ever had an issue with necessarily.

(27:45):
It was mostly just the fact that I didn't know
how to market my stuff and you know, limited resources.
I didn't I couldn't like go travel to shows in
different states necessarily and show it off. So so no,
I definitely do have ideas for other vampire or you know,

(28:10):
like vampire things that I'd like to write, but I'm
also a little gun shy about it now because I've
gone through that that fright of like, hey, I wrote
three books and no one read them. So that's that's
always just a really hard thing when you're a writer,

(28:32):
is really busting your your ass to pardon my French,
to write something and you put all this effort into
it and then you put it out there. But because
you don't know what you're doing, it just yeah, no
one reads it.

Speaker 1 (28:47):
So yeah, I know exactly what you mean. I've been there.
But how has how has your writing changed since that
first book to what you're writing now? How would you
say you have evolved?

Speaker 2 (29:04):
Oh? I mean when I wrote that book, I was
very concerned with minute details. I wanted to make sure
that everybody knew every little thing that was in this room,
or what this person looked like, or you know. I
wanted to create the environments, to recreate the environments in

(29:27):
words on the page, and so everything was hyper detailed,
and I focused on using words that maybe the majority
of people didn't know or like. I just I was
trying to write to impress versus trying to write to
actually tell a story, and so that that hyper detail

(29:53):
I've now gone swung to the direction of minimalist writing,
which I would very much say on Dead Folk is
is very minimalist. And I like the idea of telling
a story and not giving the reader every single component

(30:17):
and letting them figure things out. You know, just just
letting the wheels turn. So I'm I don't know, I
think that I'm finding more ways to have fun with
writing in terms of experimenting with it, with form, with storytelling,

(30:42):
with everything, and yeah, I just want to keep doing that.

Speaker 1 (30:49):
Yeah, I found that your prose is beautiful. I really
kind of like fell into the pros and that was
part of the reason why I fell in love with
Undead Folk so quickly. I was just like, this is awesome,
this is incredible, and the storytelling, your style of storytelling
was just great. But whenever I run into an author

(31:11):
who writes in this sort of beautiful style, I aim
to do that myself to a degree. And so I
have to ask this question, how do you find yourself
structuring the language within your stories?

Speaker 2 (31:29):
It depends on the story. This one un Dead Folk.
I knew going into it that I wanted to play
with which words I used, how I described people because
I wanted to mislead, and then when the truth is revealed,

(31:52):
I wanted it to be like a, oh shit, that's
been the thing this whole time. I just didn't notice,
like spoiler not spoiler. At this point in Undead Folk,
there are moments where I use father and dad and

(32:12):
I and I interchange them and to the lay person
who's just reading, they might assume that this is one person,
and in reality it's two different people that are being
spoken about.

Speaker 1 (32:27):
Yeah, and you don't spend a husband, and you.

Speaker 2 (32:31):
Don't get that until you get to the end. So
that in itself was fun, and that was easier to
do in a short form story like a novelette like
Undead Folk. So again just it depends on the story,

(32:52):
but just and then heavily editing as well. Sure that
things stay consistent, but but that's you know, do.

Speaker 1 (33:03):
You find yourself sorry, go ahead and no, no, you're good.
The words just popped out. Do you find yourself playing
with the language when you're going through like edits?

Speaker 2 (33:15):
Sure? Absolutely, Yeah. There is a saying that is called
rite drunk, edit sober, and it's a fair saying. Editing
is where I do some of my best work. Like
I can, I can get really caught up in the

(33:37):
writing portion, just trying to get as much down as
I can because I don't want to forget anything, and
then going back over it and editing and cutting things
and refining things is really where the story gets its legs,
So it's very important and it's it's one of the

(34:01):
more fun parts of the process for me.

Speaker 1 (34:05):
Yeah. Another thing that really impressed me about your work
is your characters. They're so emotionally layered, and I'm just wondering,
how do you how do you create a character? Like
what goes into creating a character? For if you were
just to start a new book right now, how would

(34:27):
you go about creating the character? Is it like, do
you hear them talking to you? Or do you just
have like the story idea and the character that comes
along with it.

Speaker 2 (34:37):
So it depends. It's generally I will have stand out
characters where I can hear them saying whatever I need
them to say. They have a voice and I can
hear it, and then other characters just present themselves easily,

(35:00):
like I know who they need to be for this
story to make sense. Like Janet was a character that
I didn't have any trouble figuring out because I knew
that she was going to be very standoffish and not

(35:21):
let anybody in. And writing that is just kind of
easy for me because I can be that way too,
whether whether writers realize it or not. You're always pulling
pieces of yourself and putting them into characters. But often enough,
when I'm creating a character, I will find some real

(35:45):
life version, usually based on an actor or portrayal that
I've loved, and I'll take that and be like, what
if this was here in this character, what might they say?
What might they do? It's it's you know, not it's

(36:06):
not that character necessarily as much as it is that
that that type of character in this situation. So when
I wrote Vox, my main character was based off of
David Tennant's The Doctor, okay, and I but I wanted

(36:29):
an evil, like a not necessarily evil, but I wanted
a character who wasn't good or bad, you know, just
had a very like ambivalent identity with that same playfulness

(36:50):
that he showed on that TV series in this application.
So that was where and how I applied that, And
the same with amos in on Dead Folk. There's a
character in a film bit part that I really really enjoyed,

(37:17):
and he was this like super sarcastic dad and who
just like kind of messed with his kids a lot
like and I liked the idea of that, and I
wanted to just stick that in this undead animal and

(37:44):
see what happens when played and then play it against
this other character. So a lot of it is trial
and error, and sometimes it works and sometimes it doesn't,
but it works really well for on dead Folk.

Speaker 1 (38:00):
Yeah, undead Folk. That's the first book of the Deadlands
sort of a trilogy, but Alpine Curse is definitely in
that world as well. But can you give us a
rundown what the Deadlands series is about.

Speaker 2 (38:16):
So the dead Lands is a trilogy of books which
is about a young woman who is searching for revenge
on the people who took her parents from her. And
that's putting it kind of broadly, but essentially, she was

(38:38):
orphaned at a young age and lived with this sort
of traveling group of survivors. And it's a dystopian world
where drought is the main issue. So it's very dry,
there's not a lot of resources for water. And she

(39:04):
has this ability to use sort of a backwoods magic
to bring back dead souls into dead animals or dead
things anyway, And and so it's her story about how

(39:26):
she utilizes this and and and also learns more about
her past to find and get revenge on these people
that took her parents from her. So that was how
it started, and originally it was only meant to be
one book, but you know, gears keep turning, You fall

(39:53):
in love with characters, you don't want to let them go.
You've got ideas, And I kept going, what.

Speaker 1 (40:02):
What made you continue it? Because I've heard you talk
about like the Wildfall or sorry, the Wild Dark, that series,
and how you said you were going to maybe write
in that world again. But then Undead Folk came out,
and then two more came out, So what makes you
continue a series rather than than not?

Speaker 2 (40:27):
So what's difficult is I will I'll continue a series
if I feel like there's more story to be told.
And The Wild Dark did end with the Wildfall, and
that that was the that was that story was completed,

(40:48):
and there is still stuff I could write from the
universe of the Wild Dark. Certainly Dan and Andy could
have another story. I get bugged at work by real
life Dan about that all the time. But with Undead Folk,

(41:09):
the idea came up while I was recording a podcast
with my friend Lucas and and I was like, yeah,
I really could write another one like I.

Speaker 1 (41:22):
This.

Speaker 2 (41:24):
There was a sort of resolution at the end of
Undead Folk, and really I am all for people. If
that's the kind of resolution that you're good with, then
you don't need to read the rest of the books,
because that's fine. But most often what happens in a

(41:51):
second book is that there's a new problem or there's
a new thing that happens to cause things to kind
of fall out of equilibrium. And that's what I decided
to have happen in the second book. And I went
about writing Dead Folk in a very different way than

(42:15):
the first one because I wanted it to feel more
NonStop action. Yeah, I wanted it. And a lot of
people have said that it kind of feels like a
video game almost.

Speaker 1 (42:29):
I laugh, because that's actually one of my questions. Yeah,
and each book feels like a level up, and it
like the challenge gets harder too.

Speaker 2 (42:41):
Yeah, And that's like you're always trying to one up
the next the last book, and with Dead Folk, that's
probably one of the easiest books that I've ever written,
because it just flowed so easily for me. Like writing

(43:01):
action scenes is something that I really enjoy and I
don't do it as much as I used to. But
also the idea of just this young woman, like beating
these guys to shit, is awesome to me.

Speaker 1 (43:21):
It's awesome.

Speaker 2 (43:22):
And when I was writing it, I was also like, Okay,
this can end with this book, and this is what
I had intended to do. And then I waffled on
how I was going to finish it, and then I
decided that I needed to have it and a certain way,
and if I did that, then it was going to

(43:42):
require it's another book. And that was entirely for emotional gravitas.
Like I it kills me because this one one review
I got. I know you're not supposed to harp on reviews,
but I did have somebody who got mad at me

(44:04):
because they were like, why didn't you just write it
all as one book? And I didn't know at the
time that I was going to be writing all of this,
like it wasn't planned. But also somebody else who left

(44:24):
a very nice review who said that there is that
emotional gravitas after each one that it does, that it's
its own story, it's its own thing, and if they
all were together in one book, just digested, it might

(44:49):
not feel the same. Even though that is I.

Speaker 1 (44:54):
Can completely agree with that, actually, because as you mentioned
that one positive review, UH says that you get like
an emotional reward sort of of after each book, And
I think, honestly, I would ruin it if you compiled
it all together.

Speaker 2 (45:14):
Which unfortunately happen, which you.

Speaker 1 (45:17):
Know it's it could work too like, but I like
them as novellas, like separate novellas. But seeing it like compile,
like it's different if you know, going in knowing that
this was all separate and now it's just combiled like
into compiled into an ominibus. But if it was released
that way it would have had it would have had

(45:39):
a completely different feel.

Speaker 2 (45:40):
Yeah, released as just a one one novel, yeah, it
would not feel the same at all. And so yeah,
I did what I did.

Speaker 1 (45:56):
Now, writers hate this question, and I get it, but
I like the way ideas formulate in writers. Head's creative people,
not just writers. I like to know how things are created.
I like to know where it came from. So I
was wondering, do you remember what the original idea for
the Deadlines was and how it came to you?

Speaker 2 (46:17):
Yeah, it was supposed to be. Originally I had the
idea of doing a short story collection, and this was
going to be the story that was happening in between
the other stories to kind of bind everything together. And
at some point I'm I'm just not a prolific short

(46:42):
story writer. It's a skill that I would like to
improve at and I'm just not there yet, And so
my writing short stories just doesn't happen on a very
quick basis. So the idea of having a short story
collection would have meant that this whole project would be

(47:06):
years in the future. And who knows if the idea
for that, that story that was supposed to be, you know,
threading through all the other ones, if I would still
feel the same way about it then as I do now.
So I decided in a moment of desperation last year

(47:32):
when I really needed money because I had had my
basement flood and my water my hot water heater broke,
my my furnace got flooded and had to be repaired.

(47:54):
So I had all of these issues and I I
was like, Okay, I need, I need to do something.
So I wrote on Dead Folk as a novelette instead
of as a series of short stories for a short
story collection. And it was going to be an exclusive,

(48:18):
you know, hardcover edition that I put out at author
Con which I was going to in Williamsburg, and uh
and so I put it out. I made the cover
for it before I wrote the book, which I have
joked about this. You don't ever do that, just don't.

(48:39):
I made the cover and then I shared it and
was like, yeah, this is what I'm going to do,
and lots and lots of people responded to it and
were insanely excited about it. And then I had to
write it, and I did. I wrote it very quickly

(49:02):
and edited very quickly because it's a very short book.
It's only like seventy pages. And and then was very
lucky enough to have people like Ross Jeffrey and Red
Lego and Candice Nola read it and blurb it for
me before it released, And so that was the origin.

Speaker 1 (49:33):
I find it funny, well not funny, Like you went
through a pretty hard time there with the flood in
your in your basement that took out your water heater
and furnace. I had something similar happened, just so you know.
So I'm not laughing at you, but I don't know.
I don't think you guys, because Maine is pretty far
away from us, but we had a huge eye storm

(49:55):
in the in the spring or late winter, and it
took out a lot of stuff and ended up flooding
our basement and it took out our water heater. But
that's not my reference here. My references like the story
ends up being about an apocalypse where there's a drought,
a serious drought, and lakes and oceans are drying. So

(50:17):
it's like, maybe you're taking revenge on water.

Speaker 2 (50:21):
Well, it's it's funny. I don't even know if I
was aware of that necessarily, but it I had another
book that I was writing at the time that was
about flooded United States, which is also coming out, so

(50:49):
I already had something that I was doing that that
was the opposite. And when I when I was thinking
about writing Undead Folk as part of that short story collection,
I had always pictured there being like marshes and bogs

(51:09):
and things like that, and then for some reason it
just kind of took a more western tone. The whole
thing to the more western tone, so so naturally it
went drier because of that.

Speaker 1 (51:25):
Yeah, I think it's interesting too. It's not until I
think book two where we learn of what's going on
in the world. I don't think the first book really
mentions too much about like it being dry. It's just
it just seems dry as we're traveling with Janet. But
then then the second book, we it starts to mention that,
like there's hardly any water.

Speaker 2 (51:48):
Yeah, and it's it is talked about in the first one,
but not extensively like it's there. There's mentions of the
fact that the pond in the backyard is has been
reduced to just this little puddle of water. And then
when they're going out to the hospice center, Janet is

(52:13):
explaining to Amos what's going on, what's happened. And the
thing that I do not explain is where all of
the rich people went, because it's alluded to it. It's
basically stated that they left, and hysterically at the time,

(52:39):
it was that they had left the planet. They had
gone into space and left because they could afford to
jump on a bunch of rockets and do that. Yeah,
and that was before the election, So.

Speaker 1 (53:01):
Well, right now, I wouldn't mind if you know, certain
rich people would just go to another planet.

Speaker 2 (53:07):
M great, Yeah, it.

Speaker 1 (53:11):
Certainly would be great. I know that you're a panther,
But while reading The Dead Lambs, I noticed that there's
a lot of interesting lore, So I was wondering if
that comes to you while you're writing it, or do
you end up pausing somewhere and saying, okay, I got
to work out the law.

Speaker 2 (53:31):
It's kind of just as it goes along, and then
none of the trick is to make sure that it
stays consistent through the rest of the books.

Speaker 1 (53:40):
So I also love I love Janet or Ella. She's
a fascinating character. She's very ruthless in her pursuit for revenge.
I was wondering. You mentioned earlier that some like other
characters will influence like that you've consumed will influence characters

(54:04):
of your own, So I was wondering if there's any
any characters that influenced Janet.

Speaker 2 (54:13):
Honestly, not really Janet. Typically with my main characters, I
do have something that I pull from. Janet's one of
the few where I was just kind of like, yeah,
I know who this is right off the bat, And
I didn't really pull from anybody necessarily. I just I

(54:38):
knew what I wanted that character to be, and I
knew what she had been through to put her into
her mindset. So I I don't know. She was just
very seamless and easy to write and kind of an anomaly,

(55:00):
I guess in reference to a lot of my other
characters that I do find other inspiration from.

Speaker 1 (55:09):
M Vulpine Curse. I read that last and I did
not expect it to be in the dead Lands universe.
I thought it was just a one off on its own,
and then all these characters as I was like, Oh
my god, Okay, so what was the what was the
idea behind writing Vulpine Curse.

Speaker 2 (55:33):
I really really enjoyed writing Hugh in nothing Land, and
and I liked a lot of the characters that I
wrote about nothing Land, and I wanted to bring them back.
But I also was really interested in writing Hugh's story
between what happens to him, you know, kind of after

(55:55):
he and Ella separate, and the moment there. And it
was also this opportunity to write a very transgressive novel
or novella, which I have not experimented with in the past,
much more violent, I would say, more gore than I

(56:18):
usually write. I mean, it was a departure from my
typical style, but I really wanted to just take a
chance on it and see what it was like to
write something like that. And I played a lot with
that one too, just with language and mostly with formatting.

(56:43):
That one. I had a lot more fun in the
formatting in the paperback, and I basically had to write
it as I was formatting it, because that's it all
tied in together.

Speaker 1 (57:00):
So I think I might have forget the paperback now
on my on my Cobo.

Speaker 2 (57:07):
Some of it translated, okay to ebook, but not you know,
certainly the font that I used, some of the images
that I included, like, yeah, it's it's a whole other,
uh experience in paperback form.

Speaker 1 (57:29):
And it's a it's a very vicious story. Like you
get an idea of who Hugh is before we get
to Vulpine Curse, but when we get inside Hugh's head,
it's wow, it's like.

Speaker 2 (57:41):
Oh yeah, Well, the thing to keep in mind with
the Deadlands is it's a very vicious world and it
is do or die, and he's basically living. He's killing
so he can live, and that's the just losing losing

(58:14):
that sense of like caring for other human beings as
you go along is kind of well, very indicative of
what it feels like right now in this day and age.
So I mean, there's a lot of parallels to how
I was feeling at the beginning of the year. With

(58:40):
certain things that are nation's leader has done. So it's
a lot of rage and a lot of violence, and.

Speaker 1 (58:55):
It's very much a reflection in the sense of our
time right now. Yeah, and it's kind of a hard
read for that, but it's also I mean, it's very dark,
but I had fun reading it at the same time,
if that makes any sense.

Speaker 2 (59:13):
Yeah, it's it's a hard one. It's uh, you know.
I I went into it also not assuming this was
going to be a fun read anyone. I mean I was.
I I think that a lot of the reason that
people have not necessarily jumped on this one as opposed

(59:37):
to the rest of the series is because of how
different in flavor it is from the others, and it's
maybe a little bit too much like what they're seeing
and hearing on a daily basis in the news. So
it's understandable.

Speaker 1 (59:56):
Yeah. Absolutely. Is there any plans to continue the Deadlands
at all? Or is that it? So?

Speaker 2 (01:00:06):
As of right now we are. There is an Omnibus,
a special edition Omnibus that is coming out in end
of September, which includes the first three books and two
short stories that are not published as of now, and

(01:00:29):
then eventually I did want to write a follow up
to nothing Land, but it's not like the Deadlands as
a series is completed as it were, and I don't
count Vulpine Curse as part of that series. So if

(01:00:51):
I do write something new, it will be with you know, Janet,
and it will follow a different plot, It'll it'll have
different stakes, I guess the best way to put it.

Speaker 1 (01:01:09):
I think it's important to mention here too, that you
could read Bulpine Curse on its own without having read
the other three books.

Speaker 2 (01:01:18):
You can.

Speaker 3 (01:01:18):
I've had a couple of people say that they that
you couldn't, So it's I think in order to really
appreciate the Easter Eggs, you can.

Speaker 2 (01:01:31):
You know, you can certainly read the others and then
and then you'll know who some of the other characters
are that are mentioned. But I don't think it's necessary
to know exactly who they are. It's it was meant
to be read as a stand alone, whether or not
you had read yeah the rest.

Speaker 1 (01:01:52):
Personally, I like that kind of thing myself, and so
I was glad that, you know, I added Bulpine Curse
to my reading list for this interview because it was
kind of that's where I had the fun, right like
picking out all the things that you recognized from the trilogy.
But I can see how it doesn't necessarily need to

(01:02:12):
be a part of that of the series. It's just
sort of like a book that's the story is adjacent
to the rest of the Yeah.

Speaker 2 (01:02:22):
Yeah, same world, but very very different feeling.

Speaker 1 (01:02:29):
Absolutely. Now, you do a lot of your own covers
because you work mostly from like your own publishing company. Yeah,
I know you've done a lot of them, at least
I don't know if you do them all.

Speaker 2 (01:02:42):
But I've done all of them except for the book
that's coming out in September is with True Born Press,
and that's the first cover of a book that's mine
that I have not done, and it's really cool.

Speaker 1 (01:02:57):
It is beautiful. It kind of has your style to it,
though I imagine that they may have the book cover
artist must have picked up on your style and used it,
because I was like, this totally Catherine Silva type of
book cover style. But so I was gonna I was
going to give you a huge compliment on that book cover,

(01:03:18):
but well, I guess it goes to the.

Speaker 2 (01:03:21):
Christina Is, who is the editor in chief of Trueborn Press,
does all of the covers for her books, and she's insane.
She started out as a cover artist exclusively before starting Trueborn,
so no, she's very very good.

Speaker 1 (01:03:44):
Nice up until have you? Is this your first time
going with a different publisher? It is? What was what
made you decide to do that? Just Carrious, I.

Speaker 2 (01:04:00):
I mean, I've been self publishing for it's fifteen years.
I honestly, in order to expand my career and take
the next step and do something else, I wanted to
start putting my books out there, you know, trying some

(01:04:21):
different publishing companies, seeing if I can expand, because there's
not really too much further for me to go in
the self publishing industry. It's just like, yeah, I can
keep doing this and I can keep having similar similar

(01:04:45):
things happen. I guess the best way to put it
financially and in my own like sphere of people knowing
my stuff, but I will know ever have the same
kind of distribution or reach as other publishers do, and

(01:05:10):
that's just a smart way of branching out.

Speaker 1 (01:05:15):
Yeah, I agree totally. Is this like sort of where
you're planning on going with your career or do you
think you'll always have a hybrid sort of I mean publishing.

Speaker 2 (01:05:32):
I really like what Gemma Moore does. She is a
hybrid publisher and writer and some of I mean Todd
Keasling also does it, and he's a good friend, and
I really look up to people who can do both things.
So I will probably still put out my own stuff,

(01:05:55):
but I would like to be putting out more stuff
with others presses, So I will be submitting more things
to them. It's a question of whether or not it's uh,
it's what they're looking for.

Speaker 1 (01:06:11):
So yeah, I want to give props to Todd keys
Link because I had him on the show recently and
we're going to get to the final question in a
minute here. But when I asked him that question, he
mentioned you, and that's what got me reading your work
in the first place. I was like, Okay, Todd mentioned

(01:06:32):
Cat's work, and so I'm gonna I'm going to go
and and dive in and so yeah, yeah, that props
to Todd. He's an awesome guy.

Speaker 2 (01:06:41):
Todd's a good guy.

Speaker 1 (01:06:42):
Yeah, all right, just a few more questions here and
then I shall let loose your chain and let you go. So,
since you know, you write dark fiction and a lot
of it goes into like horrifying territory or at least horror.
Have you ever tackled any of your biggest fears in

(01:07:02):
any of your stories?

Speaker 2 (01:07:08):
Yes and no.

Speaker 1 (01:07:09):
I mean.

Speaker 2 (01:07:11):
A lot of my fears are like, like, I've definitely
tackled what comes with loss and grief multiple times. Being

(01:07:33):
alone is certainly, uh, something that I've written about many times.
Let's see, you know, it's really it's really just like
little things now that I'm I'm kind of having fun with. Like,

(01:07:58):
fear of being onunder water is something I don't I
don't talk about very often. I am not a strong swimmer,
so having fear of things in the ocean and things
that are deep in the ocean is something I'm currently
writing about, and I have a few projects going on with.

(01:08:24):
I had an insane dream last night that was very
visual that I will probably be writing about that definitely
hit on some some fears, you know.

Speaker 1 (01:08:43):
Have you ever done that before? Gotten an idea for
a story from a dream I have?

Speaker 2 (01:08:49):
Yeah?

Speaker 1 (01:08:50):
Do you do you suffer from like very vivid dreams
very often?

Speaker 2 (01:08:54):
No? Not often now. I used to have pretty vivid
dreams when I was younger, but it's it's pretty rare
when I have them now and I had to yesterday,
which I will give the props to that Migraine that
I think I think that might have had something to
do with it. But but no, I wrote my book.

(01:09:19):
The collection is based on a dream that I had, uh,
which was about all of these taxidermy animals coming to life.

Speaker 1 (01:09:31):
That's sounds terrifying right there. Yeah, I find that whole
taxidermy thing creepy on its own in a sense.

Speaker 2 (01:09:40):
I think they're they're cool, but yeah, the idea of
them coming back to life is really frightening.

Speaker 1 (01:09:48):
Yeah, well it's I have this thing about touching dead things.
Like if you have a pet that dies on you,
like a hamster or something, I couldn't I couldn't touch
it because I was afraid it would come back to
life and bite me.

Speaker 2 (01:10:02):
That's yeah, that's that's a terrifying thought.

Speaker 1 (01:10:06):
It is, especially when they're all stiff, right yeah.

Speaker 2 (01:10:14):
I think I've seen Tony did mice for that to
really worry me. We have you know that New England,
the old New England, you know cape with a million
holes and it's one hundred years old, and there's mice everywhere,
and we have a cat.

Speaker 1 (01:10:31):
So yeah, well I kind of got over that too,
because the similar issues with the cat who loves mousing,
so they often leave your presence. Yes, you don't necessarily.

Speaker 2 (01:10:44):
Want No, he's not as he's not as good a
mouse or as he used to be.

Speaker 1 (01:10:50):
But I was listening to podcasts where your cat made
and it made itself known in that podcast. I forget
podcast it was. But you have the most awesome name
for a cat, lemon jelly. Lemon jelly. That's it.

Speaker 2 (01:11:06):
Yeah. Yeah, he's asleep right now. Otherwise he would be
all up in this. But no, he he left me
half of a mouse on the couch once, uh, which
I was sitting on I didn't realize, not years ago.

Speaker 1 (01:11:28):
But not cool, not cool at all. You're like, I
appreciate the gift, but next time, Uh no, please don't.
Which Which of your books would you like to see
adapted to the big screen or as a television series?

Speaker 2 (01:11:49):
Oh it's hard. I mean, because I love Undead Folk.
I think it could be a really cute short film.
I say cute, but I think it could be a
fun film. Honestly, the Wild Dark probably has the most
cinematic appeal to it. How Lit Oblivion also could could

(01:12:13):
be of those three.

Speaker 1 (01:12:17):
I think I need to read The Wild Dark. I
bought it. I bought it a while ago because that
was another way I was introduced to you. I think
it was on TikTok. It's either TikTok or book Tube,
where people were going on and praising that book, and
I was so I edited it to my TBR and
I bought it. But you know how, you know how

(01:12:38):
that goes well.

Speaker 2 (01:12:39):
And it's also sizable.

Speaker 1 (01:12:41):
It's a it's a chunky yeah, it's very chunky. Yeah. Yeah,
all right, So final question. I try to ask this
of everyone. I don't always, but I did manage to
get to it with you. Which authors do you feel
are neglected and you wish more people we're discussing on

(01:13:01):
social media.

Speaker 2 (01:13:04):
Okay, I have a list. Yeah, I have some wonderful
author friends who are not talked about enough. I mean,
obviously we're going to mention Todd because Todd's writing is
insanely good and he.

Speaker 1 (01:13:25):
Just he is awesome. Hece was like Mind.

Speaker 2 (01:13:32):
Dance is my favorite book of his, and yeah, I
just it's a beautiful book. I am also going to
mention my friend Amanda Hedley, who is a phenomenal writer,

(01:13:52):
uh and has a book coming at the end of August,
maybe it's end of August, first of Timber something like that,
which I had the good fortune to read early, and
it's it's very good.

Speaker 1 (01:14:08):
What's the title of that book.

Speaker 2 (01:14:10):
It's called How a Villain Is Made? Or This is
How a Villain Is Made, I believe. Also notable people
to mention Tom Raimer, who is a fellow New England
author who writes all kinds of supernatural goodness. Brennan LaFaro

(01:14:36):
who has a lot of different offerings and certainly some
really kick ass Western offerings. Pauline Chow who I'm reading
right now, mean that Pauline who wrote Chasing Moonflowers, which
just came out recently. Very you nique point of view.

(01:15:05):
And Kyle Winkler is another.

Speaker 1 (01:15:09):
Okay, I've talked to him on the show.

Speaker 2 (01:15:12):
And I'm reading his book right now, Beyond the Peerless,
and it's fantastic and zany and weird and it's so
good awesome.

Speaker 1 (01:15:24):
Now you've met you mentioned a couple of times your show.
What is that exactly?

Speaker 2 (01:15:29):
So I do a an interview series during the winter
and it's called Winterviews because I'm terrible with puns and
it's it's in its It will be the fifth season
next year, but I do I've interviewed usually it's like
eight people a season, and it's only between the months

(01:15:52):
of January and uh and then like early April when
I have downtime and we talk about authors and their
favorite sub genres and horror, and we usually keep it
pretty fluent, like there's not a lot of crossover, so

(01:16:15):
we do. I mean, we've talked about grief horror a
lot because that one just naturally comes up.

Speaker 1 (01:16:20):
Yeah, but where can people where can people find that?

Speaker 2 (01:16:25):
It's on YouTube. It's on my YouTube channel, so there's
there's four seasons of that.

Speaker 1 (01:16:33):
That's awesome. I'm gonna go check that out. That that's
something I did not come I heard it in passing,
I think on other podcasts and then you mentioning it
here and there. But it's very silly.

Speaker 4 (01:16:47):
That's fine, that's fine, But that does that does make
me think of more people that I want to mention,
especially because grief wour is my jam and Sam Richard, who.

Speaker 2 (01:17:03):
Is the editor in chief of Weird Punk Press, definitely
is somebody that people should read more. Awesome, Yeah, Sam,
is is good people, and I feel like there was

(01:17:25):
another one that floated up into my mind and I
and now it's like gone back down and I feel
really really bad.

Speaker 1 (01:17:33):
You know that happens. That happens.

Speaker 2 (01:17:36):
Oh Rob Smalls, that's who is and it's uh Smalls
s M A L. E. S. Phenomenal short fiction author,
has a ton of stuff out there, definitely worth looking up.

Speaker 1 (01:18:02):
That that's a great list of authors. There's only two
of them that I've read, so I I've got some
homework to do. Cool all right, before we go? Where
can people catch you online if they want to keep updated?

Speaker 2 (01:18:21):
So I am very active on Instagram. I'd say that's
one of my one of the best places, and Blue
Sky is another one. And I am also on Facebook
and on threads, but less active in those two.

Speaker 1 (01:18:45):
Awesome all right, So I want to thank you for
coming on. I had had a great time talking to
you about your books and and your writing process. And
I want to extend an invitation to come back if
you had fun here, yeah, sometime in the future. And yeah,

(01:19:08):
So I think that's it, unless you have anything else
you'd like to say.

Speaker 2 (01:19:14):
I'm just going to mention the book that's coming out
in September. If people are interested in the only book
that I have not self published, which is called Where
the Soul Goes, and it's coming from True Born Press
September ninth, and pre orders are available right now, and

(01:19:36):
it is grief horror and with like footy happiness. It's
got influences from like the Bear. I think would be
probably the best thing to throw in there.

Speaker 1 (01:19:54):
And yeah, I want to thank you for sending me
an e ark for that. I was hoping. I was
hoping to, uh, at least read some of it, but
you know how weekends go. You think you're going to
have all this time to read, but it just doesn't happen. Yeah,
So I was. I was being pretty ambitious with you
over the emails, saying, oh, I'm going to get this

(01:20:16):
read before Monday.

Speaker 4 (01:20:17):
Yeah.

Speaker 1 (01:20:17):
I was like, yeah, there's always that niggling thought in
the back of your skulls, like come on, man, get real.
But I totally plan on reading it because because I
absolutely love your work. And thank you again for coming
on and we'll talk to you soon.

Speaker 2 (01:20:38):
All right, sounds good.

Speaker 1 (01:21:07):
Thank you so much for listening to my discussion with
kat Silva about the Dead Land series. I had a
lot of fun talking with her, and I can't wait
to read her new book. I kind of had to
hit myself at the end of that because I meant
to discuss her book that's coming out in September, and
I completely gapped it until she went into the synopsis

(01:21:29):
right at the end there. So I highly recommend if
you haven't read Catherine Silva, I think you need to
fix that. She's an awesome, awesome writer. Her pros is beautiful,
Her characters are rather vicious, especially in the Deadland series,
and there's a lot of emotion. There's grief, there's hatred,
there's anger, there's retribution. Check her out. You won't be sorry.

(01:21:56):
Now coming up, Actually, let me backtrack a little bit.
You may have noticed that the podcast here has been
a little slow during the summer months, and that's because
I've been taking a break while I do my summer
hours at work, and I've been trying to focus on
the writing, which hasn't gone well because everything shifts for

(01:22:18):
me in the summer. But in September, I plan on
coming back full force, and we have quite the few
authors that I have planned to come on the show,
and I'm really excited to talk to these people. As
I mentioned earlier, I want a stronger female sense. But
I do have like three other dudes lined up, and
I'm not going to say who, because anything can happen.

(01:22:39):
Come along and ruin it. And if anyone listening this
far sees one of their favorites and then is disappointed,
well that's on me, right. So you're just gonna have
to wait and see. But there's some big ones coming up,
and I want to keep talking to indie authors. I
think that's what weird reads is known for. So stay tuned,
and if you want to help so report the show,

(01:23:00):
please do so by going to Patreon forward slash Jason White.
I think that's the address, but it might not be,
so please check the show notes and join the Patreon.
There's three or I think you know what. I think
there's three levels, and one is three dollars, the second

(01:23:21):
one is four dollars, and the last one is six dollars,
and you get quite a few different things on there.
It's I hope you know, if you know what, I'm
screwing this all if you don't have the money, which
is totally understandable. These are hard times and they're only
getting harder with a psychopath in the well, you know what.

(01:23:43):
You know where I'm going with that. If you want
to help the show free without any cost to you,
then I asked that you please go to either Spotify
and rate the show there, or you can go to
Apple podcast. And this is the big one. If you
can go to Apple podcast and rate the show five

(01:24:05):
stars and leave a review, that will help the show grow.
Apple will be more willing the more we of those
we get, Apple will be willing to share our show,
and it'll help the show grow. And so that's what
I'm hoping to do, and I hope that you don't
mind helping me with that. All right, thank you so
much for listening everyone. I'm gonna stop rambling now and

(01:24:27):
we will catch you next time. So until then, keep
being weird because weirdness being weird is important these days.
And also stay safe and I'll catch you in the
next podcast.

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059 - Exploring The Deadlands With Katherine Silva

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}059 - Exploring The Deadlands With Katherine Silva