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BTP80: The Linestrider Tarot with Siolo Thompson

By June 27, 2017Podcast

linestrider tarot

Siolo Thompson and the Linestrider Tarot

On today’s Biddy Tarot Podcast, I’m talking with Siolo Thompson, the creator of the Linestrider Tarot. It was originally released on IndieGoGo back in 2015, but was recently picked up by Llewellyn, and now you’ll find this deck in major bookstores and on Amazon, and in all sorts of amazing places.

Siolo and I have a chat about the Linestrider Tarot, but also about this journey she’s been on from publishing the deck, and then being picked up by such a well-known publisher, and everything that goes with that – plus a lot of other fun stuff, like:

  • How Salvador Dali inspired Siolo to create her first Tarot deck
  • What inspired the Linestrider Tarot deck
  • Why a crowdfunding campaign was critical to the success of the Linestrider Tarot deck
  • The ins and outs of having your Tarot deck (or book) published by a publishing house

I think you’ll really enjoy today’s episode, so let’s get to it…

Additional Resources

See the Linestrider Tarot at http://www.linestridertarot.com/

Podcast Transcript

You’re listening to the Biddy Tarot Podcast, and this is Episode 80: The Linestrider Tarot with Siolo Thompson.

Welcome to the Biddy Tarot Podcast, where you’ll learn how to connect more deeply with your intuition, and live an empowered and enlightened life with the Tarot cards as your guide. Listen as Brigit and her guests share their very best tips and strategies to help you read Tarot with confidence. Now, here is your host, Brigit Esselmont.

The Linestrider Tarot

BRIGIT: Hello, and welcome back to the Biddy Tarot Podcast. Today, I am so excited to be speaking with Siolo Thompson, the creator of the Linestrider Tarot. Now, the Linestrider Tarot was originally released on IndieGoGo back in about 2015, but it was recently picked up by Llewellyn, and now you’ll find this deck in major bookstores and on Amazon and in all sorts of amazing places.

Now, this deck is quite literally inspired by linestriders, beings who dance on the edge of two worlds – magic and logic, the spiritual and the physical, animal and human, conscious and unconscious. It is an absolutely beautiful deck with watercolours. I see so much energy and movement in this particular deck. It’s detailed but minimalist, with vibrant colour and rich symbolism.

Now, if you want to check out the actual images from the deck, head on over to BiddyTarot.com/80 and you can see some of the images of this deck. It’s absolutely gorgeous.

Siolo and I have a chat about the Linestrider Tarot, but we also have a chat about this journey that Siolo has taken from publishing the deck on the crowdsourcing of IndieGoGo, and then having that work picked up by Llewellyn, a well-known publisher. We talk about not just the really amazing things that are possible as a result of going with a publishing house, but also some of the darker sides, or the caveats, or things that you need to take into consideration when you do go into publishing.

I think you’ll find this a really interesting conversation. Again, I also really do encourage you to check out the Linestrider Tarot. It’s just a beautiful, beautiful deck. I want to welcome in Siolo, so let’s get straight into it.

Welcome, Siolo. I’m so excited to have you here on the Biddy Tarot Podcast.

SIOLO: Likewise, I am so excited to be here.

BRIGIT: Where did your journey with Tarot begin?

SIOLO: I have been a long-time fan of Tarot, but it never occurred to me to make a deck until about 2 years ago. Like with most artistic projects, once the idea was in my head, it became a little bit of an obsession. That took up the next 2 years of my life.

BRIGIT: Yeah. How did you even come across Tarot?

SIOLO: I had seen it as a kid, but I would say that my intro to it would be… I grew up in South America, where divination traditions are a little bit different. They throw bones or read entrails. They’re a whole different kind of thing. I came across an old Linda Goodman astrological signs book, and I became kind of obsessed with it. That led me to Tarot and to other things – my teenage obsessions.

BRIGIT: Did you play with the Tarot cards much as you were growing up, or was it just something that you had on the side that was of interest?

SIOLO: I wish! I grew up in a pretty strangely evangelical, fundamentalist Christian framework. It was strictly forbidden as devilry and whatnot, which, of course, only made me more interested in it. I would look up pictures in the encyclopaedia and cut out little things and make my own little divination sets and whatnot, but I never really got to play with it until I was an adult.

BRIGIT: When you rediscovered Tarot, what happened? How did it come back into your life?

SIOLO: Let me see… How did it come back into my life? A friend of mine had Salvador Dalí’s Tarot deck. As an artist, I’m obviously interested in art history and in other projects that artists have done, so when someone presented this Salvador Dalí deck to me, I was completely fascinated by his treatment of these Jungian archetypes, and then I kind of remembered my childhood obsession with divination and whatnot and began to get into it. I started looking at the history of different artists that had taken on Tarot decks, Tarot art, contemporary Tarot art, who was doing what. And then, of course, I was like, “Oh my God! I have to do my own.”

BRIGIT: Wonderful. It’s interesting how people come into Tarot. I often see there’s the artistic who see this beautiful opportunity to express something perhaps visually. There are more of the intuitive type who wants to understand their life, and then they come into Tarot from that direction.

SIOLO: Sure.

BRIGIT: As an artist, what is it about Tarot that made you so interested?

SIOLO: I’m very interested in these archetypes. I feel like they are incredibly embedded in our ideas of ourselves, and I am a very outspoken feminist, and some of these archetypes – the Emperor and the Empress and the High Priestess – and these ideas of the ultimate woman and motherhood, the Crone… These kinds of things are very interesting to me, how they guide us through life, how they guide our expectations of ourselves. Always in my work as an artist, I’ve focused on figurative representational work, and archetypes have always been a big part of that.

When I rediscovered Tarot as an artist, I was like, “Oh my God! This is amazing. Of course, I want to make paintings of all of these archetypes and try to further decode these things and what our expectations are and how we’ve internalised all of these symbols!”

BRIGIT: Yeah. When you started this project, was it your intention only to do the Major Arcana with the archetypes, or did you go right on to do all 78?

SIOLO: Well, yeah, that’s the thing with art projects, right? One’s intentions going in are not exactly how things tend to shape up. I have no control over my muses. They are wild horses. I had this notion, “I want to make a Tarot deck,” and then I thought, “I should just do the Major Arcana. That makes the most sense.” But then I sat down with the deck, and all of a sudden, “No, it’s the Four of Swords that wants to be drawn today.”

That was such a cool process, though, because I know better. I have been making art for long enough now that I know better than to try to say, “This is what’s inspiring me. I’m not going to do it. I’m going to stick with the plan because my checklist says I should be doing the Justice card today.” It doesn’t work that way.

BRIGIT: Yeah.

SIOLO: When the cards speak, they speak, and you kind of become a servant to the process, and I’m all about just letting your intuition flow. That’s when you do your best work, you know?

BRIGIT: Yeah, absolutely. I read somewhere that you actually created the cards a couple of times until you found that really right voice with the right image with that card. Tell me about that.

SIOLO: Yeah. Some of them came so easily to me. The Queens in particular just knew who they wanted to be – bam! First shot. Many of the Cups cards I didn’t struggle with at all, but some of them I had to do ten times!

BRIGIT: Wow.

SIOLO: And then the Emperor… I think I personally really struggle with that strong patriarchal energy. I could not draw the Emperor for the life of me. I must have drawn him ten times, and honestly, the Emperor that is in the Linestrider deck, I still don’t like the guy. At some point, my publishing deadline was up and I had to let it go.

BRIGIT: Yeah, it’s like an all-in or all-out.

SIOLO: Totally.

BRIGIT: You get to a card, and you’re like, “Oh, I can’t do this one!” You’ve done it ten times… You can’t just chuck it out, can you?

SIOLO: No. You can’t give people a Tarot deck that doesn’t have an Emperor in it!

BRIGIT: Can’t do it. Sorry. It’s out.

SIOLO: Yeah, it’s really funny because I’m working on a new deck now, and I can see the Emperor. He’s on the wall behind me, my current Emperor. But I know that that’s not the final version. It’s just not. I struggle so much with that energy. It’s so funny.

BRIGIT: Yeah. I can imagine as you’re creating this deck, and you’re really connecting intuitively with the energy of each card, you’re learning a lot about yourself in the process. Did you have any “Aha!” or inspirational moments as you were creating the Linestrider Tarot?

SIOLO: Absolutely. One personal evolution that’s happened for me over the last few years is I really needed to examine the kinds of relationships and friendships I had with other women. I am a very strong, energetic, physically large person, and I’m very competitive. I’m very alpha, so sometimes that’s a struggle for me to figure out how to take that energy into relationships and be compassionate and be open to other people and make space for them.

Part of what I learned from making the Linestrider is to just sit and listen and be open to these different kinds of feminine energy, and it really helped me. I started to see my friends and my friendships in these cards. I was doing the Queen of Pentacles, and I thought, “Oh, I know exactly who that is!” It really helped me have more compassion for them and for myself, too, for these different sides of myself. “OK, I really understand that part of my energy.” When I was writing about reversals, for example, “OK, I see how that can be a negative, and this aspect can be positive.” It was definitely a journey of self-discovery.

BRIGIT: It would be quite fascinating, if only I could draw something! I think it would be quite interesting to recreate the cards in some way.

SIOLO: Yeah.

BRIGIT: Tell me… This concept of “linestrider” – what does that mean for you? Why did you choose that as the name of this deck?

SIOLO: Right. I love this notion of the hedge rider, the hedge witch hedge riders who are in between worlds. They are moving between the solid world and this ephemeral dimension between dimensions. People that are really in touch with nature, they’re human but they’re also connected on a deeper level to the earth, to animals. Different people are connected in different ways to these things that are kind of outside the lines of being human.

I know people, for example, that don’t feel at peace unless they’re near water. They have this deep connection to water, for example. These are not completely within the bounds of being human as we understand it in modern day. I love that notion of anything that has to do with divination, with magic, with understanding ourselves, even with psychology. It’s really letting yourself walk outside of these borders of you are supposed to be as a modern, intelligent human being, and letting the lines bleed a little bit.

The name came from that sense of walking that line between worlds, being open to nature, being open to magic, being open to others, and letting your lines kind of let go a little bit.

BRIGIT: Yeah. Oh, it’s so fascinating because I was having a look at the cards again, and the thing that jumped out for me is you’ve got this beautiful white background, and then it’s as if the image of that card emerges from the centre of this white background. It has almost this temporary state of being because you use watercolours.

SIOLO: Yep, watercolours.

BRIGIT: Good. It’s as if it appears, and it could almost disappear at any time. In some of the cards, I notice it’s not full lines; it’s almost hints. I can get that energetic concept of being in between worlds with these cards. I think what you just said before, bleeding at the edges. Again, you get that sense with the watercolours. It’s a really, really special deck.

SIOLO: Thank you.

BRIGIT: I haven’t really seen anything like it before. Also, what I’m really interested in is that you have still retained the Rider-Waite concepts, but you’ve obviously done it in a very different way. Talk to me about how you maintain that integrity with the Rider-Waite deck and yet create something that is very original and unique.

SIOLO: Yeah. I used the Rider-Waite deck because it’s kind of the framework that I’m most familiar with, and I think that a lot of people that read Tarot, that’s what that they’re most familiar with.

That was a jumping off point, but I did not want to be hemmed in by needing to reproduce those images. When you look at the deck, you can tell that it’s extremely intuitive. I didn’t sit down and say, “OK, there has to be two Cups in this picture,” or whatever because I just didn’t feel like I could do that and do the concepts justice. The Eight Swords doesn’t have any swords in the picture. Actually, most of them don’t. A few of them have swords where it felt relevant, but I really just let the cards tell me what they wanted to do, which sounds so woo-woo! But you know what? Making art is a pretty freakin’ woo-woo profession!

BRIGIT: Yeah.

SIOLO: Even when I’m drawing stuff for commercial projects, I try to follow the guidelines of what they want, but often what people ask me for is not what they end up getting.

BRIGIT: But that’s where the magic is, isn’t it? That’s the way your true creativity comes through versus someone else telling you what it needs to look like.

SIOLO: Yeah.

BRIGIT: Also, back in 2015… I feel a bit behind the 8-ball talking this deck in 2017, but back in 2015, you launched the deck on IndieGoGo, and now it has just been picked up by Llewellyn. Tell me a little bit about that process. That’s kind of the Tarot deck creator’s dream, I think, to crowdfund and then get it picked up by a publisher.

SIOLO: Yeah. My initial intention was not to crowdfund. My initial intention was… You know, I started to do the deck, and I realised about halfway through, “OK, you know what? I feel like this has commercial potential, and I’m going to just try to place it with a publisher.” Honestly, crowdfunding is hard. You’re putting yourself out there in such a direct way, and I’m pretty ballsy about some things, but I’m also really thin skinned in some other ways. I just knew, for example, if the crowdfunding campaign didn’t reach its goals or whatever, that was going to be really hard on me emotionally, and I wasn’t sure how that would affect my creative process, that hit on my creative process. It’s really hard to create when you’re in that kind of space, so I was very worried about it.

I didn’t immediately get a response from the publishers. I waited a few months. I submitted to them, and I didn’t hear back. I thought, “You know what? I just need to go ahead with this because it wants to be in the world.” That was obvious to me. I went ahead and did it, and then it was successful, and then I resubmitted because I thought, “You know what? I really think it wants to be with a publisher,” which obviously it did.

I think I might anthropomorphise my stuff a little more than other people.

BRIGIT: Did Llewellyn pick it up because you had a proof of concept, that you had shown that this does have a following?

SIOLO: Yeah. I think that’s pretty much how I… When I resubmitted it, I presented it as “Look, here is my proof of concept. I have gathered all of these analytics from the campaign. I have been really assiduous about looking at what my demographic is, who is buying this, why they’re buying it. I put together a pretty good package of data on that, and then I resubmitted, and then I got a response within days.

BRIGIT: Yeah.

SIOLO: Sometimes, you know, try and try again.

BRIGIT: Yeah, absolutely. I mean, you hear of all of those who have submitted their book literally a hundred times and then finally get that acceptance letter then.

SIOLO: Right.

BRIGIT: You know, from a business perspective, it makes sense that you need to make sure you’ve got that following first before the publishers will say yes.

SIOLO: Right.

BRIGIT: Perhaps this is a message that might be coming to someone just at that perfect time as they’re listening to this podcast and thinking, “I really want to get my deck published, but it’s not getting accepted. What do I do?” Well, maybe a crowdfunding might be the way to go for now.

SIOLO: Right. I think it’s really valuable in terms of providing proof of concepts and gather data, but I also think probably even more so is value in terms of connecting with your community. I really became aware of “OK, these are the kinds of people that are interested in this particular thing, and it speaks to them.” I feel like I have some really strong relationships with pretty everybody that bought that first edition, because I answered those emails. I’m like, “Great! Thank you so much for buying this!” and then they’re the people that bought the Lenormand deck that I did and bought the Herbal Oracle deck that I did. Those are my people. I have a relationship with them now that I wouldn’t have had otherwise, and it’s so cool.

BRIGIT: Yeah, absolutely. When you go about creating anything, whether it’s a Tarot deck or a Tarot course or a book or whatever it might be, you have an intention for that, but I think that’s only half the picture. It’s how people receive it and then what they do with it that really counts, and that kind of evolves your intentions to that next level as well. Certainly, when it comes to marketing it, to have that full understanding or full picture of what you intended and how others are using, that’s kind of where the magic and the gold is.

SIOLO: Yeah, absolutely. Honestly, even if it does get picked up by a publisher, the marketing work is not by any means done, because they have 300 different projects that they’re pushing, and they’re selling to basically the same general consumer population. To stand out, you really need to be connecting with your consumer, and that’s a whole different thing. I love marketing!

BRIGIT: Me too!

SIOLO: I’ve been through it.

BRIGIT: Yep. Not every artist is going to be an awesome marketer, so it’s great that you feel comfortable in both roles. What are some of the things that you’ve been doing to really get the Linestrider Tarot out there and your other decks as well?

SIOLO: I think the first thing is a mindset thing, honestly, and that sounds like a little poofy, but the mindset needs to be… People so often think that marketing is about selling people stuff they don’t need, and you have to take a step back from that and say, “No, good marketing is about connecting people with the things that are going to give their life more meaning, more beauty, and bring them more value.” Once you make that internal shift, it becomes a lot easier. You see yourself in a position of service, rather than a position of profit, and that’s an important thing.

Logistically or just the nuts-and-bolts… Social media is huge, obviously, because it is a physical, visual product, so really getting out there. Instagram has been particularly instrumental for me. I sent out a lot of decks to super users, people who have great Tarot blogs or are doing interesting things in the divination community. I sent out a lot of care packages when the deck came out first and said, “Hey, just take a look at this – absolutely no obligations. If you feel connected to it, I would love it if you covered it on your YouTube channel or do an unboxing video.”

That sort of stuff, I think, is totally instrumental, and making really clear goals for yourself of “This week, I’m going to connect with ten people on social media, and I’m going to ask them if they would be willing to take a look at the deck or cover one card or something like that.”

It’s been a little bit challenging for me, I have to be honest, working with Llewellyn, because I don’t have access to their data analytics, and that is a huge problem for me because I’m so data driven, and not being able to see, “OK, I put up a targeted Pinterest campaign, and it had this result…” Not being able to see the data drives me nuts!

BRIGIT: Yes. It’s a different ballgame, I suppose, when you’re going through a more formal publishing house.

SIOLO: You have no control! You have no control over distribution, you have no control of the numbers, and you don’t even get to see those fruits of your labours, except you get a report every six months.

BRIGIT: Oh wow.

SIOLO: I would say for a lot of the indie deck publishers that have aspirations of placing their projects with publishing houses, think really hard about that decision because it takes a lot of the power away from you. It also takes a lot of the relationships that you have. You don’t get to have that direct relationship with every consumer, which is such a good part of the process. It’s so fun and so magical.

BRIGIT: Yeah. We’ve just started selling a few things on Amazon, and the thing I get frustrated about is I don’t know who is buying my product anymore.

SIOLO: Right.

BRIGIT: I don’t know their name. I don’t have their email. I can’t stay in touch with them.

SIOLO: Yeah.

BRIGIT: And I imagine it’s the same thing when it’s being published through a third party, like your deck would end up in a shop in Australia. You’ve got no idea who has gone in and bought that deck. It becomes quite removed, I suppose.

SIOLO: Yes. And also, you can’t make decisions based on your principles either, which is a hard thing. For example, Walmart started carrying the deck, which from a commercial point of view is great. From a personal and ethical point of view, that’s really hard for me because I don’t believe that there’s someone that has the same convictions that I have about taking care of people and the environment. You don’t have any power over those decisions anymore, so that’s another thing that I think is definitely worth considering when you are thinking about what to do with your work.

BRIGIT: But then it is a balance because the positive aspect is that more and more people are being exposed to Tarot in perhaps a more normalised way, and maybe that’s a good outcome. I mean, I totally respect and understand the negative downsides of it, but maybe there are some positives there, too.

SIOLO: Oh man, yeah. Totally! I imagine some 14-year-old little baby witch in Iowa that gets their first Tarot deck, and if I have the honour of being the first Tarot deck that they get to have or being a part of their life and development in that way, I feel incredibly privileged, and it’s worth everything.

BRIGIT: Yeah.

SIOLO: They’re just things to think about.

BRIGIT: Yep. This is my business brain talking: Are you able to sell off your website? Can you produce the Tarot deck and sell it, or does everything have to go through Llewellyn?

SIOLO: Yeah, I don’t deal with the Linestrider at all. I don’t sell it, even to the extent that, for example, Fool’s Dog has an app of the Linestrider deck, and they have my Lenormand deck as well, but I get royalty checks for the Lenormand deck, but the Linestrider deck just goes to Llewellyn. I don’t even know what’s going on with that! It’s a double-edged sword. It’s really something you have to think of the pros and cons about.

I’m incredibly grateful. I’m so happy. Then especially my editor at Llewellyn, Barbara Moore, she is incredible. She is an amazing person. I have a mega crush on her. She is just such a cool person. Seriously. If you ever get the chance to work with her, she’s wonderful.

BRIGIT: Actually, we had her on the podcast a bit earlier in 2016, and it was such an engaging conversation. I loved it!

SIOLO: Yeah, she is so cool.

BRIGIT: Yeah. This is a really important conversation to have, because we’re effectively looking at the good aspects to going with a publisher and some of the aspects that maybe some deck creators aren’t aware of, and it’s just good to go into these kind of arrangements with eyes wide open and knowing you get some amazing benefits, and there is also some compromises that have to be made as well.

SIOLO: Yeah, absolutely. I would say this, too, that if anyone is listening to this and wants to know more about the process, please just hop on my website and drop me a line. I am absolutely willing to talk about with total transparency what I think of the whole process.

BRIGIT: Yeah. Does that mean you think you’ll have another deck published in the future?

SIOLO: Yeah, I am almost done with the next project. I’m doing a deck now that delves even deeper into plant and animal correspondences, and I’m nearing the end of that. Or possibly, by the time you’re listening to this podcast, I will have finished, and it will be published. I’m seriously considering just self-publishing because now, with Amazon FBA and things like that, it’s quite easy to hold onto it yourself and not sell the intellectual property rights. I don’t know. That is something I have to think about a little bit more. I’m definitely going to do the first edition as a Kickstarter because I have a great mailing list of people that are excited about it, and I would like to give them the chance to get a special first edition that’s made really for them.

BRIGIT: Yeah.

SIOLO: Then I don’t know. Then I’m going to have to do some soul searching about what kind of time I want to put into continuing to produce something like that because it is time consuming.

BRIGIT: It’s interesting, though. We’ve been looking at the same kinds of things, say with our e-books, about whether we can go and approach publishers to get the book published, or if we go along this self-publishing route. I mean, up until this day, we’re selling on our website, and we sell PDF only, but we’re currently moving towards selling a hardcopy, a printed copy. We’re selling that on Amazon, and there are even options to get it bulk printed and then fulfilled by Amazon.

SIOLO: Yeah.

BRIGIT: And if you’re good at the marketing side as well, you can get things distributed and out there. Sometimes I wonder where is the value of going with a publishing houses. I suppose it really depends what work you want to be involved in and goals and so on.

SIOLO: Yeah, I would definitely say if you have people on board that can help you with marketing, and it isn’t something that is a big psychic burden to you, you hold onto much more for yourself. You have more control over it, which is great. You can change things if you want to change things.

But also, publishing is a dinosaur of an industry, and getting your book into actual bookstores and on shelves, there are so few routes to do that, you almost have to with a big commercial publisher if you actually want your book on bookshelves. There are so many downsides to that as well because you are then reducing your profit exponentially.

BRIGIT: Yep. I was thinking even, say with your Linestrider Tarot, wouldn’t it be awesome to have a whole bunch of spin-off products with that. Now, in your contract, you may not be able to do that.

SIOLO: Yeah. I can’t! And I think about that sometimes because when I was doing the IndieGoGo campaign, I did do some spin-off products. I did some ceramics, which I love and are beautiful, and of course they sold like crazy. I have a house full of all the prototypes of when I was doing that. I did the King of Cups and the Queen of Cups as coffee mugs because that’s funny. I’m kind of corny. But I love them! They’re so beautiful! We have a cupboard full of them. Yeah, I can’t do that stuff anymore. It’s one of the reasons why I had to do another Tarot deck because I was like, “Oh, but I want to do a King of Cups cup! I need to do it!”

BRIGIT: I love it.

SIOLO: I can’t stand it!

BRIGIT: Excellent. Cool. Where can people find out more about you and the Linestrider Tarot, and also all of your other cool projects that are coming up – letter openers, cups…?

SIOLO: I am very active on the internet. I’m not even sure I have a physical body anymore. I pretty much live on the internet. SioloThompson.com, or if you just Google “Siolo” actually. I’m everywhere.

BRIGIT: Wonderful.

SIOLO: Yeah.

BRIGIT: Obviously, the Linestrider Tarot – is Amazon one of the best ways to get a copy?

SIOLO: Yeah, absolutely. Yep, Amazon is probably the least expensive route. Llewellyn also distributes it worldwide through their website, and then pretty any major bookstore in the world you can find, definitely at your esoteric bookstores, which go support them if you can because they’re generally lovely people, and they’re part of the tribe, so I like to recommend people go and actually buy a physical copy there if they’re looking for it.

Also, Fool’s Dog Tarot, which is an app company, and they’re amazing people, they have the Tarot deck as an app, so if you want to audition it, which I now do with decks before I buy them, I would get the app because you can play with it and see how it reads, and the full text is on there with all the cards. They make a really sharp product. I would definitely recommend it as well.

BRIGIT: Fabulous. Awesome. We’ll make sure we post all the links to your site and also to Amazon where you can buy the Linestrider Tarot, and that will be over at BiddyTarot.com/80.

Awesome, Siolo. I have so enjoyed our conversation. I didn’t quite realise where it would go today, but I’m so glad it did. I think what you’ve shared around the journey of going with a publisher versus crowdfunding and self-publishing and so on was very interesting. Of course, it’s been so good to hear your inspirations around the Linestrider Tarot and what your intentions were and are for that deck. Thank you so much for today. I appreciate it.

SIOLO: Thank you so much. I’m so excited to be hear.

BRIGIT: Great!

There you have it. I hope you enjoyed that conversation with Siolo as much as I did. So interesting to hear the backstory of that journey from approaching publishing houses, things not quite working out, then jumping on to IndieGoGo, getting amazing support, and then finally Siolo reaching her dream of having her deck published – now, whether she likes it or not, in Walmart!

It’s just a fabulous story and a real testament to the beautiful artistry and the energy that’s captured in the Linestrider Tarot. Now remember: you can check out the images of that deck at BiddyTarot.com/80. Plus, you can get the links to where you can buy that deck, and you can check out Siolo’s other Tarot decks that she has in the process.

I have really enjoyed having this conversation with you, and I can’t wait to talk again in our next episode all about Tarot. Until then, have an amazing week. Bye for now!

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