What happens when storytelling goes beyond the page?
In this episode of Plot Twist Radio, I sit down with author and visual artist Riley Quinn to talk about her latest fantasy romance novel, Golden Gossamer, and how she’s built a unique creative brand by combining writing, illustration, and animation.
Riley shares her journey from studying animation to becoming a self-published author, how her cinematic mindset shapes her writing style, and why visual storytelling has become such a powerful tool for book marketing in today’s digital world.
We also dive into the realities of self-publishing, outlining vs. “winging it,” avoiding creative burnout, and how to balance multiple passions without losing the joy that started it all.
Whether you’re a writer, artist, or creative trying to find your path, this episode is packed with insight, honesty, and inspiration.
In this episode, we cover:
– Writing fantasy with a cinematic, visual approach
– The inspiration behind Golden Gossamer
– Self-publishing vs. traditional publishing
– Using art and social media for book marketing
– Outlining vs. discovery writing
– Avoiding burnout as a creative
– Turning multiple passions into one creative career
Connect with Riley Quinn:
Instagram, TikTok, Website
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Welcome to Plot Twist Radio, the show where creativity,
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storytelling, and the unpredictable path of the
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creative life all collide. I'm your host Aaron Egnatz.
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Creativity doesn't always stay in one lane, and today's guest
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proves just how powerful it can be when storytelling crosses
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mediums. In this episode, I'm joined by
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author and visual artist Riley Quinn, whose work blends
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fantasy, animation, and deeply human themes of self, love and
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identity. From building worlds through
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illustration to crafting cinematic prose, Riley has
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created a storytelling experience that lives far beyond
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one page. We talk about the inspiration
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behind Golden Gossamer, the reality of self-publishing, and
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how embracing multiple creative passions can actually become
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your greatest strength. This is a conversation about
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storytelling, artistry, and what happens when you stop trying to
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fit into just and label Riley. Hello and welcome to the show.
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Hi, thank you so much for having me.
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Thanks for joining me. Can you tell the audience a
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little bit about yourself? Yes, of course.
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So my name is Riley S Quinn. I am the author of Golden
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Gossamer. I also wrote The Pendant of
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Hyacinth trilogy a few years ago.
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I'm mainly known for my artwork on Instagram.
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I actually create a lot of artwork and animations there to
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promote my projects and that's where I get most of the interest
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in my books. But I'm really proud of this
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one. It's my fourth novel.
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I think it's easily my best so far.
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It's a romance fantasy. It's really a story not just
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about romantic love, but also self love and self empowerment.
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And I really hope people will get the chance to check it out
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and give it a read because so far it's doing pretty well.
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People are loving it and I'm very proud of that.
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That's got to be a great feeling.
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I know I love it whenever you know, people are like, I love
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your book, you know, it's a rewarding feeling and add to
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your artwork. I was I was snooping on your
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Instagram and I was very impressed.
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Thank you. So for listeners that are just
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meeting you, do you think of yourself as an author who
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animates or an animator who writes?
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I think it's, it's hard to say because for me personally, the
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artwork that I create is to elaborate upon the stories that
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I create. So for me, it's an author who
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animates, but I think for most people who know me, they think
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of me as an animator who writes, mainly because it's easier to
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access my my visual work than my written work a lot of the time
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because it's free and it's on the Internet everywhere.
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But I mean, I started in the visual art space.
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I started with the artwork. I went to school for animation
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and the storytelling techniques that I learned studying film and
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animation and art are actually what I brought into my written
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work, which is why my written style is very imagery heavy.
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So when you were ready, what was the first image, character, or
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moment that sparked the world of the Mage King and the Fairy
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Queen? That's a great question.
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So I created them just as totally random characters at 1st
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and then I was like, oh, they look kind of cute, maybe I
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should put them together. And I created this scene where
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he was kind of questioning her. It's like, is this, do you see
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this as a game? Is this something serious to
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you? And she was kind of laughing at
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him and she was like, oh, like, why do you want me to think it's
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serious? And the whole dynamic basically
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blossomed from that. So basically just this
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protagonist who's a very earnest character and he cares about
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everything and he wants everything to be great all the
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time, which goes horribly wrong for him very often.
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And that's how we have a long book versus this, you know,
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antagonist who's really just kind of going along with it
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because she thinks it's funny. And then gradually realizing
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that she genuinely admires this guy for how hard he's trying and
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how much he actually cares. But she wishes that he would
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just approach it a little bit differently because she thinks
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he's not seeing results because he's being too soft and she's
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trying to like, lure him to the dark side, which is really just
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expressing his boundaries. There's always got to be one,
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right? So fantasy, it's, it's what I
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write in. It's what a lot of us write in.
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It can be crowded. How?
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What makes you confident this world needed to exist?
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I think for me, the things that are very special about my work
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is that it's very heavily rooted not just in my animation and
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film background, but in the people that I studied animation
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and film alongside. I went to school in Atlanta.
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It was a very diverse campus, lots of international students,
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and I think being around so many different creative takes, but
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also different creative perspectives coming from
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different cultures, it's very important to me to include
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diversity in my books. I am a white author, but I think
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that's no excuse for centering exclusively white characters.
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I'd like to center people from all walks of life.
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I also just think, you know, the visuals, and I approach my
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written work as if I'm writing a film.
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Everything is very cinematic. It's kind of approached shot for
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shot more so than chapter by chapter, and I think that gives
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it a very vivid experience for the reader.
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That's kind of what I would say makes it special.
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But really, for me, it's just about writing characters that
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are funny and interesting and messy.
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And I love a good trope as much as the next, but I also really
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like subverting A trope. I like having the mysterious,
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say, antagonist be the woman. I like having her be funny and
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kind of like a goofy cartoon bad guy like Megamind more so than
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like some Disney villain. Like she's genuinely just there
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for the laughs, like she's having a grand old time time.
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And then having the protagonist be this very serious, intense,
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like ready to fight guy. But he's really like, I just
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want to be a good person. And instead of him having a
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super tragic childhood, he had a great childhood and that's why
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he wants to make a change in the world.
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So like playing with the cliches of the genre and using some of
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them but also flipping some of them on their head is what makes
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it a really fresh and fun experience for me to write this
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book. And people who have read it have
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said the same. So hopefully it's working.
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I do believe it is so. Your background and animation
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clearly informs your prose. How does thinking visually
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change how you build scenes? I think it's actually been a
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real marvel for helping me with my pacing because I'm not just
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thinking about what dialogue I need to be exchanged or what
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plot points I want to hit. I'm thinking if I am this
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character. Because even though my books
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aren't in first person, you're obviously you're always
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experiencing something through some characters eyes.
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In what order am I taking in the room?
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Like what is the camera panning over to show me?
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I actually wrote an essay on this a while back that I'll have
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to find it. But if I'm entering a chapter
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and I'm entering a scene through a character's eyes, I'm like,
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OK, knowing what this character's priorities are,
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knowing what this character wants from the scene, what are
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they noticing first? And very often it's not the
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character opposite them. So I think that having that
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ability to build out the environment in a very natural
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way, because that's something you learn a lot about in film
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school, is like, you don't want to be going down the laundry
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list. A lot of people make jokes about
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the character description. It's like I'm a a blonde haired,
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blue eyed mysterious warrior Princess and I have pointy ears
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and I have a sword. I actually have three swords,
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but this is my favorite sword. And like, listen, we all wrote
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like that at some point. I know I did.
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Oh yeah, for sure. But but going to film school and
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learning about how to really build something out in a way
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that feels natural and effective, but also is still
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visually pleasing and fantastical, I think that's been
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the most effective for making my work and the world's that I
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design feel very real. Yes, I agree.
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So what is your writing process like?
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Do you outline or are you kind of like me and just wing it and
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we see what happens? Normally I do wing it.
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This is actually the first book that I really sat down and
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outlined. And I, I've said this a couple
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times to a couple people, but it really, it wouldn't have been
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this solid if not for my dear friend Joanna, who was my best
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friend in college. She's a very great story
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outliner planner. And I did all the sticky notes
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on a big cardboard sheet because I knew I wanted to do it
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physically on paper because I'm sure like most of us, I, I get
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screen fatigue. And I knew I was going to be
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typing the book. So I thought, let me use sticky
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notes while I can. And I took that big cardboard,
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you know, piece with all the sticky notes on it.
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And I went to Joanna and I said, what do you think?
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And she sat back and she looked at it and she went move that
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one. That one needs to be 3 different
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notes and one of them should be over here.
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Get rid of those two. They're not necessary.
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And we just went back and forth like that for like 4 hours.
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And once we had the Joanna approved outline, wait, this
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actually makes so much more sense.
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I could totally write this right now.
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And she's like, yeah, that's the magic of outlining.
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So I guess, I guess now I'm an outliner.
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I never wanted to do it before because I thought it would.
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I wanted to let the characters drive.
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Right. Which for my previous trilogy,
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which was my first endeavor into writing novels of that length, I
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think that worked because it was so much more character heavy.
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But for this book, I'm trying to really build out more world
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building, trying to go more traditional hardcore fantasy
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route. And so I was like, OK, well, I'm
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going to need some structure and I'm not going to keep track.
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So, you know, a little bit of both.
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I think you need both. I really I outlined the plot
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points pretty meticulously, but I leave dialogue really loose
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because I think that happens better when it's just natural on
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the page. Yeah, I do agree.
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So when you're writing, you know you get your first draft and
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then your second draft does. How similar does the first draft
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look to the last draft? Oh gosh, I feel like I want to
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say that they're super different, but I really do think
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that it's just like the first draft is the piece of fabric in
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the final draft is the embroidery.
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Like you would still recognize it, but there's all these new
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intricacies that have been added to give it a little bit more
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depth. It's like, you know, the spice
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in the broth. So I just OK metaphors.
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I feel like to me, the story seems very similar.
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There will usually be two or three major changes.
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Like a character that I did not intend to die has to go.
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That's a big 1A character that I intended to be A good guy or a
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bad guy might switch sides because I find it more
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interesting. But really, I would say the core
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plot stays pretty similar because one of the first things
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I decide on is the themes for each character.
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Like when I'm creating my outlines and my drafts, the
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first thing I'll do really is create character, you know,
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sheets more or less. And this kind of plays into
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being an artist. You know how you would hash out
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a character? You usually do a lot of visual
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iterations, and that'll come with a lot of written iterations
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for me. But every character gets like a
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key mark or theme that I decide before I write the book.
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So like for Dante, that was going to be he's going to learn
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that sometimes he's going to have to bend his morals a little
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bit together, end goal that he wants and knowing that his
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character is pretty consistent through the book, even if his
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actions may change. And then with like the fairy
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queen, it's OK. She's going to learn that
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sometimes it does pay off to be kind and honest and genuine and
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vulnerable, even though she wants to play up that she's this
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like mysterious, fabulous, wicked, wicked woman.
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And she's just not like she's really person, but she she wants
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to protect herself the same as Dante.
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And like they, they clash in that way, but they also help
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each other grow in that way. And I do the same thing for like
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the entire main cast. So I think having that as the
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base that I can always go back to keeps the overall feeling of
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the story the same, even if the events change.
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Makes sense? Absolutely.
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So you didn't just stop at the novel, you extended the world
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through illustration animation online.
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Why was it important for the story to live beyond the page?
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I mean, there's there's a romantic answer and there's a
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real answer and the real answer is marketing.
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The real answer is I have found it to be the most effective to
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grab people when I show them a scene, even if a lot of people
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get confused and they're like, is this a comic?
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Is this a movie? Is this a show?
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What is this? I'm like, oh, it's a novel.
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And they're like, oh, OK. And sometimes they're excited
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because a lot of people love to read these days, which is
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fabulous. I love that it's becoming super
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popular again with adults, but a lot of people are like, Oh, I
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don't really read. I, I wanted it to be like a
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show. And I'm like, you know what,
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maybe you should give it a chance.
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And then you never know, somebody might start rating
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because they see something that they thought was in the media
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format that they enjoyed. And then they give it a chance
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because there's they're already hooked.
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So that's always good. With my first few books, I got a
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lot of people into them who were like, I haven't read in years.
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And it was really fun to get back into it.
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And then with this one, hopefully that'll happen again.
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But you know, it's, it's just overall drawing is how I figure
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out how I want worlds to look, which is super important
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considering that, as I said, I'm very imagery heavy in my
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writing. But it's also a really great way
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to kind of like bounce ideas off of the audience, which, you
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know, you want to retreat into your cave and write your book
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and never show anyone. But you know, you have to
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publish it, which is terrifying. Every author I've ever spoken to
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is like there was a sage. I didn't want to show this to
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anybody, right? But for me, it's like the sooner
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I get over that fear, the better I feel.
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And what's really a relief is now that the book's been out for
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a few months, I'm finally able to start showcasing scenes from
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the actual story that aren't in like the first 3 chapters.
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That's been a relief. That's been really exciting.
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And what's really been fun now because of that audience
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relationship I've built so far out from the book's publication
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date, I have people in the comments who are saying I
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remember these first illustrations and now reading
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the book, it's so cool to see how far the character has come.
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Or people who are like dropping multi paragraph analysis in my
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comments just because they see a drawing of a scene that they
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liked. That is so special because I try
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not to read my reviews for a lot of reasons.
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Yeah. So seeing the things that they
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do want to share with me in my comments is really special.
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And it shows me that, you know, they're getting something from
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the story besides, just like, oh, cool, these are the people
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that I saw in the drawings online.
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That's fun. Right, yeah.
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And I think that's an excellent marketing tool that you have
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because it it grasp people. This past release of mine, I
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used, I worked with my illustrator to create what the
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characters look like because I've never done that before, and
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it helped it sell a lot easier than just putting it out there
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with a couple of paragraphs saying this is what the book's
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about. It kind of gives someone an
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image, you know, OK, so this is what I'm picturing as I'm
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reading it. So that is an excellent
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marketing strategy. It makes all the difference, it
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really does. Just everyone is so visual these
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days because of social media and and I commend you for using a
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real artist. Thank you, thank you.
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I know that authors and artists were in the anti AI struggle
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together. Oh yes.
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It just, it just makes my heart sink a little bit when I see an
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author use AI generated imagery instead of real artwork.
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So so thank you. Absolutely, yes.
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I love my Tatiana. I you know, I found her years
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ago and I was like, I'm not, I'm not letting know.
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Yeah, we're in this together, as you said.
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So. So you chose to self publish.
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What freedoms does that give you?
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Creativity. So many I one thing that's
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really big for me is being able to design my own covers.
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I have a copyright here, but I think because I market so
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heavily on my own artwork, having the visuals, you know,
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continuing from the social media really helps people recognize
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it. You know, being able to choose
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my own timeline is another huge one because, you know, knowing
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that I build out the hype so much on social media before the
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books even fully written, I personally would suffer a lot
00:15:44
from having to wait two years for my book to come out because
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there's I just couldn't keep that energy up that long.
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Like I've already spent like 2 years hyping a story up which I
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didn't even realize it's actually been three years now
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because it's 2026, which is equally disturbing.
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Got to love the passage of time. Oh yeah.
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So not having to wait that long is another big one.
00:16:06
I would love to traditionally publish something someday, but
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this project, I just felt that I wanted to do it myself.
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I kind of have an idea of how self-publishing works now from
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my previous work. I have a nice team behind me.
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I have some Vader that I trust, some editors.
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You know, I just, I have a group that I've done this with before,
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and I wanted to do it again now that I know so much more.
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If I was ever going to publish traditionally, that book would
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be intended to be traditional from the very beginning.
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And another thing that's nice is I I get a larger profit from
00:16:39
each book. There's no advance, which is a
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shame. But, you know, as the book
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continues to sell, I will continue to get the majority of
00:16:46
that income, which I can then funnel into further creative
00:16:49
projects. Yeah, that's really.
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That's why I created my own publishing company because, you
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know, you just you, you do have a lot more freedom that way.
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You can, like you said, you can do your own cover.
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You can choose when you release it versus, you know, you're
00:17:06
going to have to wait until we're ready to release it.
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And a lot of times, and this is nothing against the publisher,
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they'll change the book a lot. And a lot of times it takes the
00:17:16
heart out of it. So, you know, and you know, it's
00:17:19
a lot easier to do self-publishing these days than
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it was, you know, 20 years ago. So.
00:17:23
Such a gift. It is So what was the biggest
00:17:26
challenge in wearing multiple hats that are author artist.
00:17:33
Honestly, I mean, I think the biggest thing for me is really
00:17:37
just keeping track of emails and comments and like
00:17:42
troubleshooting more than anything else.
00:17:45
I feel like I was raised to wear many hats in a way because like
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my my parents growing up, they did a lot of different things
00:17:52
and that was just how they were and they loved it.
00:17:54
And they encouraged me to pursue every hobby I had and I was in
00:17:56
every extracurricular you can think of because my mom heard
00:17:59
that that's how you keep your kids out of trouble.
00:18:02
So like, I just feel like I've always been doing a lot of
00:18:05
different things and I was very much encouraged from an early
00:18:07
age. Just do what you want, what
00:18:09
makes you happy and become good at it.
00:18:13
So I think I never had the idea that I needed to limit myself in
00:18:16
that way. The only thing that I have to be
00:18:18
really careful of is avoiding burnout.
00:18:20
But the way that I go about that is I make sure to have hobbies
00:18:23
that give me immediate, tangible results in addition to my
00:18:27
hobbies that take a really long time.
00:18:29
So, you know, both art and writing, you can have a physical
00:18:33
copy, you can have the printed copy of the book, you could
00:18:35
print out the artwork. But I really like having
00:18:37
something that's just immediately there.
00:18:39
So I'm really into cooking. I've started taking up sewing.
00:18:44
I I love to read, as most authors do, I would hope.
00:18:48
And, you know, having hobbies that I can't make money off of
00:18:53
are really important because it takes the pressure off.
00:18:56
And so being able to now, having been burned out a few times, I
00:18:59
can see the signs now. It's like, OK, well, even though
00:19:03
I know that I could finish this right now if I just worked three
00:19:06
more hours, I also know that if I went and chilled for an hour,
00:19:09
I could finish it in one hour. And then I will still have spent
00:19:11
less time on it because I'll be refreshed.
00:19:13
So avoiding burnout and having strategies for that is, I think,
00:19:18
the ultimate key to wearing many hats.
00:19:21
Absolutely. All you writers out there,
00:19:24
definitely listen to that. Burnout is real.
00:19:26
You'll hit that writer's block and you won't be able to get out
00:19:28
of it for a while. So.
00:19:30
We'll get you. Yeah, So what advice would you
00:19:34
give to creatives other than the burnout you'll feel torn between
00:19:37
multiple passions? I would say very often we're
00:19:44
encouraged to pick one. And what I think that you should
00:19:47
actually look into is how can you combine those passions to
00:19:51
create something that feeds all those parts of your soul?
00:19:53
And if you can't combine them, which ones would you like to
00:19:56
pursue as a career and which ones would you like to keep
00:19:59
sacred for yourself? Because there is this idea
00:20:02
nowadays especially, and you know, the gig economy, the side
00:20:05
hustle culture, any skill or passion you have, you're
00:20:08
encouraged to find a way to profit from it.
00:20:11
I would say that it is very important not to forget that
00:20:14
some things need to just be for you.
00:20:17
I am someone who is always looking for a way to make a new
00:20:20
side hustle. I think I had four jobs last
00:20:23
year at once at one point. Don't do that.
00:20:27
But you know what a lot of people in my life that I love
00:20:31
and that care about me told me is like?
00:20:33
Make sure that you are keeping some things exclusively for joy.
00:20:38
And now more than ever, it is so important to find ways to
00:20:42
experience joy. You should have something that
00:20:44
feeds your soul, you should have something that helps your
00:20:46
community, and you should have something that pays your rent.
00:20:49
So I think finding a way to have one of each is super important.
00:20:53
And also having the ability to kind of change the angle you're
00:20:56
looking at your passions and see how they can feed into each
00:20:59
other is a really great way of making sure that you're touching
00:21:03
all of those aspects of your life.
00:21:05
Absolutely. Well said.
00:21:07
So what is up next for you? Well, I've started working on a
00:21:11
sequel because, you know, I wasn't sure if I was going to do
00:21:15
1, but I left enough things opened and a lot of people were
00:21:17
asking. And so, you know, it's
00:21:20
officially had its Joanna Test. You know, she's looked at it,
00:21:23
she's some feedback. So it's on the way.
00:21:26
I don't know when that'll be done, but you know, in the
00:21:28
meantime I've actually been doing a lot of visual work for
00:21:31
other authors. That's been really nice, being
00:21:33
able to help other people have some visuals to pop up on their
00:21:36
page and promote their work. And you know, I have a couple
00:21:40
other side projects, other books that I think I might write on
00:21:43
the side, maybe query traditionally.
00:21:45
We'll see. Again, you got to balance these
00:21:48
things. And winter is kind of the time I
00:21:51
take to rest as much as I can. So once spring hits, I'm going
00:21:54
to be on the racetrack. And when I'm working on
00:21:57
something, you'll know about it. It'll be all over.
00:22:01
Awesome. Well good luck to you with that.
00:22:04
Where can the listeners find you?
00:22:06
Yes, OK, so my my primary online location is my Instagram, which
00:22:12
is Riley Quin art. I'm also on TikTok at Riley Quin
00:22:15
artificial and YouTube just Riley Quin art.
00:22:20
I'm going to try and start posting more traditional art and
00:22:24
writing advice on there soon. Not so much techniques, but you
00:22:26
know, ways to grow and take care of yourself as a creative in an
00:22:30
age that is encouraging us to be as efficient as possible.
00:22:34
And I also have a website, rileyquinart.com, that's just
00:22:38
portfolio work for my animation days.
00:22:40
But you're free to check it out if you're curious because I do
00:22:42
actually have some cool concept art from the development of
00:22:44
Golden Gossamer on there. So that's where I am, and I hope
00:22:48
you come check me out if you haven't before.
00:22:51
Sure. And I will make sure that all of
00:22:52
your links are tagged in the show notes.
00:22:56
Thank you so much for joining me.
00:22:57
I appreciate it. Thank you for having me, I had a
00:22:59
great time. Yeah, me too.
00:23:04
I love that Riley reminds us that creativity doesn't have to
00:23:07
be limited. It can evolve, expand, and take
00:23:09
shape in ways we never expected. Whether it's the writing, art,
00:23:14
or something entirely your own, there's no single path to
00:23:17
telling your story. If you'd like to connect with
00:23:21
Riley or check out her work, her links are in the show notes.
00:23:25
And as always, thank you for listening to Plot Twist Radio,
00:23:27
where we explore the stories behind the storytellers and the
00:23:30
soundtrack behind creativity.