Episode 312 - Storytelling through Epistolary Fiction with David Viergutz
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David Viergutz discusses STORYTELLING THROUGH EPISTOLARY FICTION, including how immersive fiction can pull readers off the screen and into the story through physical letters and artifacts; the storytelling and business principles behind David Viergutz’s Scare Mail and Epistolary projects; how emotion, nostalgia, and connection drive engagement; and how authors can use these techniques to stand out in today’s crowded publishing world.
David Viergutz is the founder and CEO of two groundbreaking ventures reshaping modern storytelling: The Nightmare Engine, a multi–seven-figure horror publishing and logistics company, and Epistolary, the world’s first publishing house dedicated exclusively to epistolary fiction—serialized storytelling told through letters, documents, and physical media
Episode Links
David Viergutz on Joanna Penn’s The Creative Penn podcast: https://www.thecreativepenn.com/2024/09/02/writing-horror-and-selling-direct-with-david-viergutz/
Summary
In this episode of The Indy Author Podcast, Matty Dalrymple talks with David Viergutz about expanding storytelling through epistolary fiction and creating immersive reading experiences that engage audiences beyond the page. David discusses his ventures, including The Nightmare Engine—a multi–seven-figure horror publishing and logistics company—and Epistolary, the world’s first publishing house dedicated exclusively to serialized storytelling through letters, documents, and physical media. Together, Matty and David explore how authors can rethink traditional storytelling, create meaningful emotional connections with readers, and build sustainable indie publishing businesses by merging creativity and strategy.
THE BIRTH OF SCARE MAIL
David explains that his company’s concept, Scare Mail, was born from his desire to stand out in the crowded indie publishing world. Even before the rise of AI, he saw the challenge of differentiating himself in a marketplace where everyone was “competing for the same attention.” He describes himself as “a writer, not necessarily a novelist,” emphasizing that storytelling can take many forms. His early work contained journal entries, maps, evidence logs, and QR codes leading to audio downloads—elements that foreshadowed the immersive approach of Scare Mail. Over time, he recognized that his inclination to blend text with artifacts naturally evolved into this new model of storytelling.
Scare Mail delivers serialized fiction through physical letters and documents that arrive in readers’ mailboxes. Each item contributes to the unfolding narrative, turning the reader into an active participant. David says this model required him to “abandon [his] vanity as a novelist” and embrace storytelling as a broader craft that could transcend traditional book formats.
THE RULES OF EPISTOLARY STORYTELLING
At Epistolary, every story must follow three rules that define the genre. First, “Why can this not be a novel?” Each story must justify why it is being told through letters and physical media rather than as a conventional narrative. For example, a recipe, a crossword puzzle, or an old-fashioned energy bill must have a purpose that connects to the plot.
Second, “What’s the ticking time bomb?” The serialized nature of the format requires built-in urgency or progression—whether the story unfolds over 12 letters, 24 letters, or more. Readers need to feel momentum and anticipation as the installments arrive.
Third, “Why is the reader getting the letters?” Each story must explain why the reader is receiving this correspondence. In one example, a space-based story involves letters ejected from an abandoned spacecraft, collected by another ship, and sent to readers because the writer aboard wants her experiences remembered after her death. As David explains, “If you can’t explain to the reader why they’re getting it, you’re missing something.”
He contrasts this intentionality with other companies that market “story letters” but position readers merely as observers: “It’s like buying a novel chopped into a bunch of pieces. Why am I involved?” His goal is to make the reader’s role meaningful.
CREATING EMOTIONAL EXPERIENCES
David says that the inspiration for Scare Mail’s emotional impact came from an unlikely source: Taylor Swift. He drew parallels between the music industry and publishing, noting that musicians monetize experiences across multiple tiers—from streaming to merchandise to live concerts. “If I know anything about sales,” he says, “it’s sell the most expensive thing you can.” For authors, he believes that high-value storytelling experiences can parallel a live concert if they elicit strong feelings. “People will pay anything to feel something,” he explains.
He emphasizes that what fans remember most isn’t the concert’s details but the emotions they felt. Scare Mail is designed to do the same through narrative immersion and tactile engagement. The sense of nostalgia—waiting for mail, opening envelopes, unfolding letters—creates an emotional ritual that digital platforms can’t replicate. “There is nothing good in that mailbox,” he says of everyday bills and junk mail, “and I knew people had sold stories via letters before. What I think we’ve done is a concept done better—with intention to provide something of value that solves an issue for the recipient.”
David sees Scare Mail as a hybrid between storytelling and personal experience, bridging the gap between fiction and reality. “We can attack real problems for the person through story,” he says, connecting the format to emotional and psychological engagement.
LOGISTICS AND SERIALIZATION
Matty asks about the logistics of serialized storytelling when mail delivery can be unpredictable. David explains that each installment includes light recaps to orient the reader, ensuring that even if a letter arrives out of order, the story remains coherent. He also shares operational insights: after sending over a million letters, only about 3,000 required resending—a testament to both the system’s reliability and reader enthusiasm.
While serialized fiction often relies on cliffhangers, David says Scare Mail’s pacing is intentionally variable. Because the format itself sets reader expectations, it doesn’t require constant suspense. “People know they’re buying either a 24-letter or 12-letter story,” he says. “They know it will resolve by the end.” The storytelling rhythm mirrors that of a novel, with highs and lows, while the tactile nature of each installment adds an extra layer of engagement.
COMMUNITY AND HUMAN CONNECTION
A central philosophy behind Scare Mail and Epistolary is to “get back to being human.” David sees the company’s audience as people seeking a break from screens, algorithms, and digital noise. “There’s too much instant gratification,” he says. “Let’s get back to being human.”
This philosophy extends to a community initiative called “Care Mail,” which pairs subscribers as pen pals. Participants exchange handwritten letters with others across the world—“nothing typed,” David emphasizes. Some have maintained ongoing correspondence for over a year, building friendships and even exchanging packages. While not monetized, Care Mail deepens emotional engagement and reinforces the core value of genuine connection.
Readers also share their creative responses, compiling their letters into scrapbooks and art projects. David notes that while Scare Mail’s Facebook community exists, its purpose isn’t typical marketing. Instead, it’s about shared humanity and storytelling.
STORY AND CHARACTER ABOVE ALL
Despite the business and marketing components, David insists that story quality remains paramount: “Only a good story matters most. You could forget everything else.” Epistolary’s motto—“Story or Die”—underscores this focus. The company won’t publish works that don’t meet high narrative standards, regardless of presentation quality.
Character development is equally critical. “With story or die also comes character or die,” David says. He cites examples such as PIRATES OF THE CARIBBEAN, where Will Turner is the true protagonist, even though Captain Jack Sparrow is the more compelling character. Likewise, in epistolary storytelling, readers must connect with the characters’ voices and motives to stay invested.
Some Scare Mail stories are told through intercepted letters, allowing readers to feel like engaged observers rather than direct participants. David avoids turning his projects into “games,” emphasizing that Scare Mail is storytelling, not puzzle-solving: “At that point, I’ve created a game—and games have a different set of rules than a story.”
BALANCING BUSINESS AND CREATIVITY
Matty asks how David balances storytelling goals with business realities. He says the two are intertwined: “How can we better position the product to solve solutions for the reader?” Scare Mail’s marketing emphasizes emotional resonance and problem-solving—addressing digital fatigue, restoring anticipation, and transforming mundane mail into something readers look forward to.
He compares it to selling mattresses: “Everybody can understand the value of a good mattress. It’s the same with storytelling. You still have to explain why yours is better.” By aligning messaging with emotional needs, Scare Mail sustains both creative integrity and profitability.
David also advocates for author authenticity, challenging writers to stand behind their work completely. “I want somebody who stands behind their story so much they’re willing to make this offer: You will love my story. If you don’t, let me know, and I will buy the story you want from somebody else.”
THE POWER OF NOSTALGIA
David and Matty conclude by discussing nostalgia’s role in engaging readers. Matty observes that the mailbox has become “the walk of dread” for most people, filled with bills and junk mail. Scare Mail flips that experience into something joyful and personal. David agrees, noting that both those who remember receiving handwritten letters and younger readers who’ve never experienced it find emotional value in physical storytelling. “People will pay anything to feel something,” he reiterates.
David frames himself not as a novelist but as “a multimillion-dollar storyteller,” proud to explore new mediums and challenge creative conventions. He encourages other authors to think the same way: “If we lean into being storytellers, we’ll find other fun mediums than just churning out another romantic book or chasing KU reads.” For him, success lies not in abandoning storytelling’s roots but in rediscovering its power to connect people through tangible, human experience.