Please introduce yourself and tell us about your background as a writer.
S.E. Lindberg here. I’m fascinated with the intersection of science, art, and spirituality. Since 2014, this muse compelled me to reach out and interview authors such as Anna Smith Spark, Carol Berg, Darrell Schweitzer, and Janet E. Morris on the topic Beauty in Weird Fiction (broadcasted on Black Gate since 2018). Twenty-five years of practicing chemistry combined with a passion for adventure stories led me to fictionalize the alchemical humors. First this manifested in my independently published Dyscrasia Fiction series (still ongoing, “dyscrasia” is not a land, it is an archaic term for an imbalance of the classic medicinal humors including blood). With Perseid Press, I reveal the birth of alchemical warfare (Heroika Series: Dragon Eaters & Skirmishers) and, on the satirical front, I highlight the damned exploits of a duo including the discredited evolutionist Ernst Haeckel and the tomb-raiding Howard Carter (Heroes in Hell Series: Pirates in Hell, Lovers in Hell, & Mystics in Hell). The last few years, my stories have found homes in Whetstone: Amateur Magazine of S&S, Swords & Sorcery online magazine, Weirdbook’s Zombies, and most recently, DMR Books’ Terra Incognita.

Beyond writing, I have some community roles. I’m a Managing Editor at Black Gate, moderator for the Sword & Sorcery group on Goodreads, have survived a few internships with Tales from the Magician’s Skull Magazine. Currently, I am an Event Coordinator for the 2022 GenCon Writer’s Symposium (this Aug 4-7).

What are the most prominent influences on your writing? How do you incorporate those influences without being derivative?
Both the art and correspondences amongst the trio of Howard Phillips Lovecraft, Clark Ashton Smith, and Robert E. Howard catalyzed my interest. However, I read most of their work and finding the fusion of action in weird milieus was difficult to find after that. There are some contemporary authors that come to mind that scratch my itch for weird-adventure (John R. Fultz, David C. Smith, B.J. Swann, Chase A. Folmar for example), but these authors do not address my personal quest to delve into alchemy. By the way, writing derivate fiction can be okay, of course, if that’s your purpose/desire. Personally, I don’t mind reading some derivative fiction sometimes… I just don’t want to spend my time creating more. My goal when writing is to take myself to places that are completely unique and unsettling; if I do not feel the sincere weirdness while composing, then readers won’t feel it either. To avoid being derivative, creators merely have to incorporate their own muses into their work. Make it personal. Make it real.

Many authors say marketing is one of their biggest challenges. What tactics have you found to be most effective for getting your name out there?
One reason I switched from independently published novels toward contributing to anthologies was to simultaneously learn a new form while building name recognition. So, trying different markets and forms is one way.

Of course, the issue with marketing is that it is an opportunity cost (all that energy could be spent elsewhere). So, the question is: what efforts (beyond writing) can one perform that provides as many benefits as possible? Most include participating in larger community. For instance, as mentioned above, in 2014 I began interviewing authors to learn from them and to share their experiences/perspectives; that led to publishing opportunities and networking. Also, reviewing books helped me learn about new markets, but also connect with editors and publishers when I shared those reviews. I’m not keen enough to create content via podcasts, but that is obviously another way to simultaneously network while bettering one’s craft. Attending & volunteering at conventions is another way; I’ve attended World Fantasy Convention and GenCon Writer’s Symposium (GCWS), eventually participating on panels and am now on the organizing committee for the 2022 GCWS. Not only are these great ways to connect directly with authors you can learn from, but volunteer opportunities typically allow more direct access to all sorts of folks in the industry. Writing/Reading groups (either in-person local clubs to online ones like Goodreads) offer community & opportunities too.

There are always book giveaways and digital advertising. I’ve had good luck with giveaways organized via Goodreads or Librarything.com. Once free, some of these tools require a cost now (in addition to the books being printed/shipped if one goes beyond providing electronic copies). Only had rare success with digital advertising.

How much do your audience’s expectations factor in to what you write? Does this ever cause you to hold back from experimenting?
Certainly, there are expectations for given markets, so when writing short fiction the content has to consider the targeted genre’s tropes. Likewise, most anthologies have themes, and I always write original work for those to match.

A tangential issue for me is that I want to provide very weird experiences, but if they get “too weird” then they are inaccessible. Fine line. Many readers of adventure fiction appreciate simple conflict with a focus on action (i.e., one human hero versus one antagonist in a duel), but many weird-fiction readers expect bizarre elements & perspectives. There are many ways to provide unfamiliarity (weirdness), but they all risk alienating the reader. Offer up unhuman protagonists, in a fantasy setting not grounded in real-life, and have them combat supernatural forces rather than an antagonist…. and some readers will bail.

Experimenting is useful. I now keep track of the number of weird elements/perspectives in my stories and regulate them. In my Dyscrasia Fiction series, I shifted the central protagonist from being an undead skeleton (Lysis) to a living human (Helen) to dampen the uber-weirdness of the stories; also, I shifted from varying perspectives each to chapter to keeping with one point-of-view.

Have you had any new stories published recently? Are you currently working on any?
A Dyscrasia Fiction tale “One Hive. Two Queens.” just appeared in DMR’s Terra Incognita: Lost Worlds of Fantasy and Adventure.

More Dyscrasia Fiction has been accepted by Tales From the Magician’s Skull (expected in issue #9) and a charity S&S anthology. Timing on those TBD.

Perseid Press’s Heroes in Hell series continues, so expect another contribution to be revealed soon.

Name one newer and one older book you have read and enjoyed recently. (“Newer” meaning from the past year or so, and “older” meaning written before 1980.)

Newer (2021): Rainbringer: Zora Neale Hurston Against the Lovecraftian Mythos by Ed Erdelac

Reviewed on Black Gate recently, but here’s a blurb: Rainbringer reminds me of splendid, symphonic (or operatic) Heavy Metal music. It combines the literary foundation of solid historic fiction (arguably Classical music) with the wild experiences of intense adventure. Cozy mystery readers may be lured into reading Rainbringer for its historic influences, but they will have their minds blown when cosmic demons are revealed to be meddling with humankind. Likewise, readers of classic weird fiction (i.e., Howard Phillips Lovecraft, Robert Howard, etc.) will be treated to an extremely fresh take: a heroine in charge, and African American woman to boot!

Older (1962): Hunter (Parker series #1) by Richard Stark

During a writing class I took last year via the Muse Writing Center (The Craft of Heroic Fantasy Fiction) author/instructor Howard Andrew Jones suggested I read Donald E. Westlake (aka Richard Stark)'s Parker series to (1) add variety to my steady dose of Sword & Sorcery [this is a dark, noir crime thriller… not fantasy adventure] and (2) experience reading economical writing and optimal information flow (i.e., "reveals"). This was a blast. I can see why this expanded in a 24 book series. Parker is our focus, but he's a tough criminal. His exploits are James Bond-like, in that he is a lone rogue constantly thinking on the fly; otherwise, his intentions are entirely self-serving. As HAJ indicated, this was not only fun to read, but it is a fine example of an entertaining book that also demonstrates highly efficient prose; each sentence delivers only what it has to, and Stark/Westlake perfected when to add detail (i.e. brand names or key adjectives). Also perfected, chapter-to-chapter information reveals; the reader only receives what they need, but five chapters in you'll realize that each section unravels key context.

Any final words?
For those around Indianapolis, Indiana Aug 4-7 attending the world’s largest board game convention GenCon, consider attending the Writer’s Symposium. We have four days of events with 75 panels and 40+ workshops. On the Weird Fiction and Sword & Sorcery front, I’ll be moderating five panels (more info here).

The Sword & Sorcery group on Goodreads is a very low-key, friendly bunch. Everyone is invited to participate, especially in our group-reads (we typically have 2-month duration reads with 2-topics; July-August 2022 we will have one topic “New Edge S&S”). Join in!

For more about me, browse selindberg.com.

I’ve enjoyed the DMR Blog and Books for many years. I am truly honored to have been included in Terra Incognita and this spotlight. Thank you.