BOOK SIGNING
While I was signing copies of BLOOD LITE: OVERBITE at Barnes & Noble, a man with a tripod and a big black bag approached my table. He started talking to me as he slowly set up his tripod. I figured he was from the TV station, but he never introduced himself beyond his first name. So I started worrying that he might be some weirdo making a personal video of some sort. He attached the camera to the tripod, and its lens dilated like a huge alien eye. Here's the footage it captured... (WARNING: Not for the faint of heart!)
SHORT STORIES
I've been working on a few short stories here and there: a sequel to my story in BLOOD LITE: OVERBITE, "Dick & Larry"; a submission for Michael Knost's MOTHMAN FILES anthology; and a submission for a lesbian/gay/bi/transsexual antho, open only to members of the Horror Writers Association. Haven't submitted any of them yet, and have only finished one--so wish me luck!!!
MARKET SCOOPS & NEW BLOG TEMPLATE
A quick update on Market Scoops: I have one interview in the queue, and several requests floating around. I should have some content for everyone soon.
As for the blog template, I think this one is a little more modern and streamlined compared to the torn parchment of yore. Comment below if you like it, or if you have any ideas on how to improve the layout and navigation, or whatever...
Wednesday, November 17, 2010
Monday, November 15, 2010
Interview – Simon Logan, author of KATJA FROM THE PUNK BAND (ChiZine Publications)
Next up for Wayne Simmons’s interview treatment is author Simon Logan. Simon’s latest release is KATJA FROM THE PUNK BAND – an excellent novel released through Dark Fiction’s new champions, Chizine Publications.
WS: So, who are you and what contribution are you making to the sci-fi/ horror genre?
SL: I’m Simon Logan, author of the novels Katja From The Punk Band and Pretty Little Things To Fill Up The Void and the short story collections Nothing Is Inflammable, Rohypnol Brides and I-O. I started off writing in the UK/US horror small presses but quickly became bored by the apparently self-imposed restrictions on a lot of horror writers. I decided therefore to draw more on the things which interested me rather than paying any attention to what everyone else was doing or what I thought I should do. So I turned to things like music (industrial initially but now more punk) and movies as well as my interest in subcultures: body modifications, fetish, psychology, politics etc, and started doing my own thing. The initial result was I-O (so called because it was the input of my interests to create the output of my stories) which was pretty experimental and very rough. However, I quickly found the direction I wanted to go in. I felt it was important that if I were going to spend so much time writing and creating something and then expecting people to spend their own time consuming it, then it should be worthwhile doing so. I didn’t just want to do what everyone else did.
WS: Your first release (Input-Output) was a collection of short stories set against an industrial backdrop. What inspires your fascination with all things mechanical and industrial?
SL: I’m not sure where most of my obsessions come from, to be honest, but I often latch onto subjects quite intensely. I love viruses, I love quantum physics, I love just learning how things work, whether that’s machines or biological systems or whether it’s people. The stories in I-O, and pretty much everything since then, have a very industrial backdrop, like you say, and part of that came from the music I was listening to at the time – Nine Inch Nails and Pitchshifter. I’ve always been interested in people or places that don’t function properly, that aren’t the best of the best. That’s why I always liked Star Wars but not Star Trek. Star Wars was about rebels struggling with shoddy equipment, oppressed people fighting back against a tyranny. Star Trek, on the other hand, with its best-of-the-best of everything, always sat uncomfortably with me precisely because they were so elite. I’ve always been more interested in people who aren’t the best at what they do, who don’t have everything at their disposal and the same goes for settings. Plus it’s just fun to describe.
WS: Katja from the Punk Band is your latest release with Canadian publisher, ChiZine. The book has been stocked by numerous stores throughout Canada and N. America. How does it feel to find your name on the shelves of brick and mortar stores?
SL: Well I’m not sure about the distribution leap for Katja from my other books. I’ve certainly not seen any copies in my local Waterstones (though to be honest I’ve not been in one for ages) so if they are in bookstores across the pond then it’s a fairly abstract idea for me. From what I’ve heard, CZP are doing a fantastic job of getting it into stores and getting it a bit of a wider audience on the whole. I’m under no illusions that I’m anything more than a clique author in that I have a fairly small audience, at least at the moment, but those that do like my stuff seem to really like it. I do feel I can reach a wider audience and I guess I’ll just keep writing and see what happens.
WS: What writers inspire you?
SL: I actually take more inspiration from other sources, like music and movies. For whatever reason Deftones lyrics have inspired several short stories I’ve written: there’s just something about them which seems to trigger something in me. Movies like Inception, Mulholland Drive, Triangle and Cache all inspire me with how they play with convention and form, and how they challenge the audience. But certainly authors like Chuck Palahnuik, Will Christopher Baer and Jack O’Connell appeal to me because they show me how you can push things. I’m reading John Ajvide Lindqvist’s HANDLING THE UNDEAD right now and am loving that: it’s so full of compassion and a really fresh take on zombie horror. I often find myself more inspired by sentences or small snippets of dialogue rather than entire books. Another book I’ve read and loved recently is The Patron Saint of Plagues by Barth Anderson which is a viral horror set in Mexico City and manages to blur genres handsomely. I also recently re-read the short story called “Foot Work” which forms a part of Chuck Palahnuik’s novel “Haunted” and I think that is just the most perfect short story. It’s about the dark side of alternative therapies, about women who turn to the dark side and become assassins, using their skills for evil. It’s fairly short but sometimes that’s when stories work best. It has a great idea at its heart, explores such ideally fully, and then ends.
WS: How important have conventions been to your writing career? What other ways do you promote yourself?
SL: Conventions are basically my idea of a waking nightmare. I was meant to attend the recent World Horror Convention in Brighton to launch my book but had to pull out for financial reasons. However, even if I had made it I think I would have spent most of the time fighting back panic attacks J I’m not necessarily antisocial, I’m just not that bothered about being around other people. I’ve never been to a writing convention, never attended any workshops, never been to a writing group – the only reason I’d do anything like that would be for self-promotion. I get on fine in my own company and don’t feel the need to have others around me. When there are others there then you have to start worrying about what to say and how to behave J In terms of promotion I do what I can: working in the indy press means that you have to fight so hard to even be noticed – although ChiZine have done a great job so far. I maintain my own website and I promote myself via the usual social networking outlets as best I can. As I say, I’m not great at the whole personal interaction thing so to be in a position where someone is doing that for me is reason enough for me to want to be successful! Perhaps I could just do the old Harper Lee recluse thing and pretend I’m some sort of mysterious artiste rather than just a social misfit.
WS: Would you describe your writing as character-driven? What inspires your characters? What attracts you to characters from the fringes of society?
Read more...
For more interviews and book reviews by Wayne Simmons, go to www.waynesimmons.org
Belfast born, Wayne Simmons, has been loitering with intent around the horror genre for some years. Having scribbled reviews and interviews for various zines, Wayne released his debut horror novel, DROP DEAD GORGEOUS, through PERMUTED PRESS. The book was received well by both fans of the genre and reviewers alike. In April 2010, the rights to DROP DEAD GORGEOUS reverted back to Wayne. An extended version of DDG will be released through SNOWBOOKS in 2011.
Wayne released the zombie apocalyptic horror novel, FLU, through SNOWBOOKS in April 2010.
In what little spare time he has left, Wayne enjoys running, getting tattooed and listening to all manner of unseemly screeches on his BOOM-BOOM Box…
WS: So, who are you and what contribution are you making to the sci-fi/ horror genre?
SL: I’m Simon Logan, author of the novels Katja From The Punk Band and Pretty Little Things To Fill Up The Void and the short story collections Nothing Is Inflammable, Rohypnol Brides and I-O. I started off writing in the UK/US horror small presses but quickly became bored by the apparently self-imposed restrictions on a lot of horror writers. I decided therefore to draw more on the things which interested me rather than paying any attention to what everyone else was doing or what I thought I should do. So I turned to things like music (industrial initially but now more punk) and movies as well as my interest in subcultures: body modifications, fetish, psychology, politics etc, and started doing my own thing. The initial result was I-O (so called because it was the input of my interests to create the output of my stories) which was pretty experimental and very rough. However, I quickly found the direction I wanted to go in. I felt it was important that if I were going to spend so much time writing and creating something and then expecting people to spend their own time consuming it, then it should be worthwhile doing so. I didn’t just want to do what everyone else did.
WS: Your first release (Input-Output) was a collection of short stories set against an industrial backdrop. What inspires your fascination with all things mechanical and industrial?
SL: I’m not sure where most of my obsessions come from, to be honest, but I often latch onto subjects quite intensely. I love viruses, I love quantum physics, I love just learning how things work, whether that’s machines or biological systems or whether it’s people. The stories in I-O, and pretty much everything since then, have a very industrial backdrop, like you say, and part of that came from the music I was listening to at the time – Nine Inch Nails and Pitchshifter. I’ve always been interested in people or places that don’t function properly, that aren’t the best of the best. That’s why I always liked Star Wars but not Star Trek. Star Wars was about rebels struggling with shoddy equipment, oppressed people fighting back against a tyranny. Star Trek, on the other hand, with its best-of-the-best of everything, always sat uncomfortably with me precisely because they were so elite. I’ve always been more interested in people who aren’t the best at what they do, who don’t have everything at their disposal and the same goes for settings. Plus it’s just fun to describe.
WS: Katja from the Punk Band is your latest release with Canadian publisher, ChiZine. The book has been stocked by numerous stores throughout Canada and N. America. How does it feel to find your name on the shelves of brick and mortar stores?
SL: Well I’m not sure about the distribution leap for Katja from my other books. I’ve certainly not seen any copies in my local Waterstones (though to be honest I’ve not been in one for ages) so if they are in bookstores across the pond then it’s a fairly abstract idea for me. From what I’ve heard, CZP are doing a fantastic job of getting it into stores and getting it a bit of a wider audience on the whole. I’m under no illusions that I’m anything more than a clique author in that I have a fairly small audience, at least at the moment, but those that do like my stuff seem to really like it. I do feel I can reach a wider audience and I guess I’ll just keep writing and see what happens.
WS: What writers inspire you?
SL: I actually take more inspiration from other sources, like music and movies. For whatever reason Deftones lyrics have inspired several short stories I’ve written: there’s just something about them which seems to trigger something in me. Movies like Inception, Mulholland Drive, Triangle and Cache all inspire me with how they play with convention and form, and how they challenge the audience. But certainly authors like Chuck Palahnuik, Will Christopher Baer and Jack O’Connell appeal to me because they show me how you can push things. I’m reading John Ajvide Lindqvist’s HANDLING THE UNDEAD right now and am loving that: it’s so full of compassion and a really fresh take on zombie horror. I often find myself more inspired by sentences or small snippets of dialogue rather than entire books. Another book I’ve read and loved recently is The Patron Saint of Plagues by Barth Anderson which is a viral horror set in Mexico City and manages to blur genres handsomely. I also recently re-read the short story called “Foot Work” which forms a part of Chuck Palahnuik’s novel “Haunted” and I think that is just the most perfect short story. It’s about the dark side of alternative therapies, about women who turn to the dark side and become assassins, using their skills for evil. It’s fairly short but sometimes that’s when stories work best. It has a great idea at its heart, explores such ideally fully, and then ends.
WS: How important have conventions been to your writing career? What other ways do you promote yourself?
SL: Conventions are basically my idea of a waking nightmare. I was meant to attend the recent World Horror Convention in Brighton to launch my book but had to pull out for financial reasons. However, even if I had made it I think I would have spent most of the time fighting back panic attacks J I’m not necessarily antisocial, I’m just not that bothered about being around other people. I’ve never been to a writing convention, never attended any workshops, never been to a writing group – the only reason I’d do anything like that would be for self-promotion. I get on fine in my own company and don’t feel the need to have others around me. When there are others there then you have to start worrying about what to say and how to behave J In terms of promotion I do what I can: working in the indy press means that you have to fight so hard to even be noticed – although ChiZine have done a great job so far. I maintain my own website and I promote myself via the usual social networking outlets as best I can. As I say, I’m not great at the whole personal interaction thing so to be in a position where someone is doing that for me is reason enough for me to want to be successful! Perhaps I could just do the old Harper Lee recluse thing and pretend I’m some sort of mysterious artiste rather than just a social misfit.
WS: Would you describe your writing as character-driven? What inspires your characters? What attracts you to characters from the fringes of society?
Read more...
For more interviews and book reviews by Wayne Simmons, go to www.waynesimmons.org
Belfast born, Wayne Simmons, has been loitering with intent around the horror genre for some years. Having scribbled reviews and interviews for various zines, Wayne released his debut horror novel, DROP DEAD GORGEOUS, through PERMUTED PRESS. The book was received well by both fans of the genre and reviewers alike. In April 2010, the rights to DROP DEAD GORGEOUS reverted back to Wayne. An extended version of DDG will be released through SNOWBOOKS in 2011.
Wayne released the zombie apocalyptic horror novel, FLU, through SNOWBOOKS in April 2010.
In what little spare time he has left, Wayne enjoys running, getting tattooed and listening to all manner of unseemly screeches on his BOOM-BOOM Box…
Tuesday, November 2, 2010
Joe McKinney Interview
Joe McKinney is the author of the novels Dead City and Quarantined, and more than thirty short stories and novellas. He has a Masters Degree in English Literature from the University of Texas at San Antonio, and has worked as a homicide detective and as a disaster mitigation specialist for the San Antonio Police Department. He lives in Texas Hill Country north of San Antonio.
D.L. Snell: Hi, Joe! Thanks for joining us.
Joe McKinney: My pleasure, David. Thanks for having me.
DS: I think one of the most interesting things about your background is your day job. So, what is it that you do when you're not writing?
JM: Well, up until a few days ago I was a homicide detective for the San Antonio Police Department, where I specialized in investigating vehicular homicides. (And yeah, vehicular homicide happens often enough that we have detectives who specialize in it. Go figure.) Before that, I was a member of the SAPD’s Critical Incident Management Team, where I helped coordinate San Antonio’s official response to natural and manmade disasters—everything from floods to building collapses to the mass evacuations of the Gulf Coast due to hurricanes, or train wrecks with hazardous materials spills. Several of my books, including Dead City and Quarantined, have had some sort of large scale natural disaster going on in the background, and much of the official response to those disasters was based on my training as a disaster mitigation specialist. I just got promoted to sergeant last week, so now I’m in charge of the 911 system for the San Antonio metropolitan area.
DS: I remember first seeing your name on the horror scene back in 2006. What are your literary achievements to date?
JM: The last few years have been kind to me. I’ve published three novels, edited a short story collection, and sold about sixty short stories and non-fiction articles. I’ve also joined the faculty of Gemini Ink, where I teach a course called Writing Modern Horror. Quarantined, my second book, was nominated for the HWA’s Bram Stoker Award for Best Novel in 2009. My third book, Dodging Bullets, was the debut publication for the Indie crime fiction publisher, Gutter Books. I’ve got two novels coming out for Bad Moon Books in 2011, and I’m finishing up the four part series that began with Dead City. The next book in that series, Apocalypse of the Dead, comes out November 2nd.
DS: In your first novel, Dead City, the main character is a police officer. How much of Joe McKinney is in that character? What would you do differently than him if you were facing a zombie apocalypse?
JM: Eddie Hudson was fun to write for a number of reasons, as he’s sort of an Everyman character. He’s a father, a husband, a well-meaning if not totally effective cop, and, let’s face it, far from the brightest bulb in the box. So, in that respect, I guess there’s a good amount of Joe McKinney in Eddie Hudson. I loved J.L. Bourne’s Day by Day Armageddon and Jonathan Maberry’s Patient Zero, but I didn’t want to write about a character who was a Billy Badass, like in those novels. I wanted to write about an average guy struggling to survive and reunite with the people he loves. The world has suddenly grown very complicated and Eddie Hudson is simply doing the best he can. He has little grasp of what’s going on in the big picture. All he knows is that the rug has been pulled out from underneath him and now he has to fall back on his limited resources. I’ve read a few reader responses on Amazon and other places where people seem to think this is a problem. I don’t see that. Quite the opposite, actually. Not everybody who wades into a zombie apocalypse is a Special Forces badass. If something like that really happened, an awful lot of us would feel like Eddie feels. We would muddle through, as Eddie does. That’s what I was trying to capture with Dead City, and I think it comes across pretty well.
And, in light of the second half of your question...what would any of us do, really? If we managed to avoid getting munched in the first few hours of a zombie apocalypse, we’d run for our families and go to ground, looking for shelter. I know that’s what I’d be doing.
DS: In your second novel, Quarantined--a finalist in the Bram Stoker Awards--you put some of your real-world knowledge to work. What would you do in the event of a bird flu pandemic? Or worse, what would do you if you were inside the quarantine?
JM: The really scary thing about a pandemic flu outbreak is how fast it spreads. Within weeks, maybe even less in our modern era of international flights, a particularly virulent strain of the flu could touch every corner of the planet. Generally, flu pandemics kill the very young and the very old. If you were to graph mortality by age groups, you’d get a sinkhole in the middle of the graph, where the 20- to 50-year-olds are. But a flu pandemic like the one in 1918 did just the opposite. Some bugs are just unpredictable, and that’s what makes the possibility of a flu pandemic so terrifying.
When I was with the Critical Incident Management Team one of the things we trained for but thankfully never had to implement was our response to one of these pandemics. How would we distribute vaccines? How would we handle the massive numbers of sick people? How would our own ranks be affected? None of the answers we came up with did the problem justice, I’m afraid.
And then came George W. Bush. I was listening to a speech of his one day, and I heard him suggest that it might become necessary to quarantine a major metropolitan area in order to prevent such a pandemic outbreak. The cop in me said, “Oh my God, what an incredibly stupid disaster that would be.” And then the horror writer in me said, “Oh my God, what a magnificent disaster that would be!” Quarantined jumped into my head nearly fully formed at that moment.
But you asked what I would do if it happened in real life. That, I’m afraid, I can’t answer truthfully. I just don’t know. I suspect my first instinct would be to send my family away as quickly as possible. Would I stay? I don’t know. I do have an awful lot of vacation time saved up...
DS: Speaking of the Bram Stoker Awards, I know many authors campaign to get their work into the hands of voters, the members of the Horror Writers Association (HWA). So, for all the writers out there, I've got to ask: what was the best way you found to get your book noticed by the HWA?
JM: You know, I’ve seen writers do all kinds of things, all kinds of shameless things, to garner votes. But what a good many of them fail to realize is that approach just makes you come across as a sleazy used car salesman. It’s hard to take writers seriously when they pander and plead for votes because, well, really, doesn’t it say something about the quality of the writing if they have to resort to those kinds of tactics?
But you do have to get people to notice you, and that’s the trick. The good stuff will usually rise to the top on its own merits, of course, but you can help it along by having your publisher mail out advance reader copies to HWA members and by making appearances at conventions, and by utilizing the HWA message board and internet mailer. Back when I was doing the publicity for Quarantined, I did a combination of all those things. I also hit Shocklines and advertised in the HWA newsletter that I could send electronic and print review copies of the book to interested members. There are other ways too, but the main thing is to have some dignity about it. Shameless self-promoters may get a smattering of votes during the general recommendation period, but that won’t help them make the final ballot. For that, the work will have to stand on its own two feet.
DS: Also for the writers out there, what is the best advice you can give for landing a novel deal over at Kensington, or any big market for that matter?
JM: On the one hand, that question is pretty easy. On the other, well... You see, Kensington only reads submissions from agents, so the easy part of your answer is to get an agent and have them shop the novel to Kensington. But I suspect your question is hinging more on the other part, the substance. What kind of book is Kensington looking to buy? Well, horror with an X-Files-type mystery element always does well. So, too, do big action horror novels. Kensington is also fond of books that can turn into a series, like Jonathan Maberry’s Ghost Road Blues, or my Dead City series. Scalability is the name of the game with big publishers these days. Take it one book at a time, but keep yourself open for the potential to turn that one book into more books. This is a good time for Kensington. With Leisure circling the drain, Kensington is set to take over a good deal of their mass market audience.
DS: Tell us a little about your newest book, Apocalypse of the Dead.
JM: Apocalypse of the Dead is the sequel to Dead City—though not your conventional type of sequel. I’ve always hated the traditional sequel that follows the same cast of characters around through five or six books. For me, the magic wears off after the second book. Sure, Lord of the Rings was cool, but that was about it as far as series go...at least for me. So I knew when I sat down to do books of my own, I wasn’t going to do that kind of series. I wanted each book in the series to share a common world, yet feature different characters. That way, I could make each book fresh, and still allow readers the freedom of reading any of the four books in any order without fear of missing something.
Here’s how I did it. In Dead City, I created this background of five massive hurricanes striking Houston within a few weeks of each other. The city was flooded. All the refineries and chemical plants spilled their product into the flood waters. Dead bodies floated around for weeks in this miasma while the federal government botched the evacuation. Millions were trapped in the flooded city as that soup of chemicals and putrescence turned into the necrosis filovirus, the virus responsible for turning the infected into zombies. Many of these infected persons were evacuated to San Antonio, where we pick up Eddie Hudson’s story. Eventually, the government manages to contain the outbreak by closing off much of the Gulf Coast behind a quarantine wall, just like George W. might suggest. In the process they trap nearly two million people within the Houston area.
Apocalypse of the Dead starts off two years after that. Life outside of the quarantine wall has pretty much returned to normal. Most Americans have gone back to their lives, though the fate of those remaining behind the quarantine wall is still a hot button issue. And then a small group of those people trapped within Houston manage to steal a shrimp boat and slip through the line of Coast Guard cutters patrolling the Gulf. They plan to head to Florida. Unfortunately, one of them is infected, and from there the necrosis filovirus goes global. In the midst of this global outbreak, six groups of characters from different corners of the country converge on the North Dakota Grasslands, where a preacher named Jasper Sewell has set up a community that just might be the answer they’ve all been looking for.
I don’t want to give away too much, but let me just say that I researched everything I could find on Jonestown to write this book.
Book 3, called The Ninth Plague, takes place in Houston as the hurricanes mentioned in Dead City make landfall. The first zombie encounters happen here, in this book, and if you were looking to place it chronologically I guess you could call it a prequel to Dead City. Book 4, called The Zombie King, takes place eight years after the events in Apocalypse of the Dead, and shows what happens as the zombies (who are, you may remember, living people infected with a disease) begin to regain some of their mental faculties.
DS: And now to ask a question for Jonathan Maberry (though he didn't request it): why zombies? More importantly, why cults?
JM: The “why zombies” part is easy. I love them, always have. I remember watching Night of the Living Dead back when I was a kid and being completely and utterly entranced. That movie grabbed me like no other horror movie ever had. And it remains one of my all-time favorites, horror or otherwise. As my interests expanded I noticed how incredibly flexible zombies were when it came to delivering a message with a horror story, and so when I was looking for a way to express my own anxiety over becoming a father, well, the zombie was a natural place to turn.
I combined zombies with a cult in Apocalypse of the Dead for a related reason. These days, the world is a scary place. Even without zombies, our journey from day to day is fraught with doubts about our place in the world and fears over the stability and security of our futures. Though I’ve never been in a cult myself, I suspect that many people who join cults join them because the organization offers some security against the doubts and fears I just mentioned. Apocalypse of the Dead was written to be a huge book, both in scope and sheer number of pages. The cast is huge, but their fears are the same. Bringing them together was essential for their survival, and to do that, I needed something capable of sheltering them. Enter the novel’s cult, called The Family. Plus, Apocalypse of the Dead gave me the chance to show how such a diverse group of normal, intelligent people could suddenly find themselves members of a cult. How would they react to the knowledge that they have become the people they used to pity, and even laugh at, before the zombie apocalypse? I wanted to know.
DS: Apocalypse of the Dead, as an epic, has an ensemble cast. Give us a sketch of your favorite character from that book. Or maybe the most important one.
JM: Well, I guess the most important character is Jasper Sewell, the leader of The Family. He’s the one who brings all the other characters together. Jasper started out in life as a used car salesman. Though he is passionate about his faith, he is nonetheless a thoroughly insane narcissist. The natural career choice for someone like Jasper is cult leader, and that most certainly is what he becomes. But despite his frightening beliefs, Jasper is not without his strong points. He is, for example, a natural leader. Like a modern day Moses he leads thousands of refugees safely through an apocalyptic landscape populated with flesh-eating zombies. And he has an uncanny ability to sum a person up and figure out what it is they were meant to do with their lives. Several of the more intelligent characters in the novel, who, before the zombie apocalypse, would have never joined something as crazy as a cult, do so in this book because Jasper sums them up so perfectly. They respond to him in ways that genuinely surprise them. Based on what I told you earlier, you’ve probably figured out that Jasper’s character was inspired, in many ways, by Jim Jones.
DS: So, what else do you have planned? Any more Dead City books or anthologies?
JM: Actually, yeah. As I mentioned, I’ve expanded Dead City into a four part series. The first is, of course, Dead City, which has just been rereleased by Kensington with a new cover and some new material. Apocalypse of the Dead comes out November 2nd. The third book in the series, called The Ninth Plague, comes out April 5th, 2011, and the fourth and final book, called The Zombie King, comes out in November, 2011. I’ve also got a novella in John Joseph Adams’ The Living Dead 2 that features Andrew Hudson as the narrator. Andrew, you may remember, was Eddie Hudson’s son in Dead City.
Getting away from zombies for a bit, I’ve got a crime novel called Dodging Bullets that just came out, and I’ll be publishing two other novels in 2011, both from Bad Moon Books. The first is a story of super intelligent, super large fire ants called The Red Empire and the second is a collaboration with Michael McCarty called Lost Girl of the Lake. I’ll also be editing an anthology of stories about abandoned buildings with Mark Onspaugh. Look for that one, called The Forsaken, in April 2011.
I’m also working on a reader’s guide to the Dead City series that should be up on my blog, Old Major’s Dream, right around the release of Apocalypse of the Dead. Anybody who wants an inside look at how the series came about, and how all the related novels and short stories fit together, should check it out. It’ll be called The Dead World: A Reader’s Guide.
DS: Thanks, Joe--it was great talking with you!
JM: Always a pleasure, David. Next time, first round’s on me!
For more scoops, go to marketscoops.blogspot.com.
D.L. Snell writes with Permuted Press. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. You can shoot D.L. Snell in the head at www.exit66.net.
To reprint this article, please contact D.L. Snell.
Tuesday, October 26, 2010
Permuted Press
THE MARKET
THE SCOOP
1) What authors do you enjoy, and why does their writing captivate you?
I love old school Stephen King, Dean Koontz and Richard Laymon. I'm a big fan of Douglas Preston and Lincoln Child. I'm less likely to follow a particular author these days than to be drawn to interesting ideas, setups, or situations.
Within the apocalyptic/zombie genres, I've really enjoyed Brian Keene, Jonathan Maberry, and Simon Clark's work. My absolute favorite apocalyptic novel is Cormac McCarthy's The Road.
2) What are your favorite genres? Which genres would you like to see incorporated into submissions to this market?
It should be obvious looking at the Permtued catalog that I love zombie fiction and apocalyptic fiction in general. I'm attempting to bring in more variety this time by also looking at time travel novels and novels that make use of Lovecraft's Cthulhu Mythos.
3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
I'm not opposed to any setting, but I do tend to be more interested in real settings rather than fantasy or futuristic settings. Generally the situation and characters are more crucial to me than the setting.
4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
I think any good novel is going to take the time to develop characters and include slower thoughtful moments, but I'm less inclined to be interested in novels which have long slow periods, or which build up too slowly. Most often I'm into novels that have a good flow of fast pace mixed with slower moments.
5) What types of characters appeal to you the most? Any examples?
It seems somewhat cliché I suppose, but I like normal characters thrown into abnormal situations. How does the school teacher react to the apocalypse? What does the southern farmer do when confronted with Lovecraftian monstrosities? Exploring what happens when the average Joe is pushed to the extreme interests me.
One other that sticks out is that, despite that they don't line up with my personal philosophy at all, I'm often drawn to charismatic nihilistic characters--Fight Club's Tyler Durden comes to mind. The characters who are so self-centered that you want to loathe them, and yet you find yourself liking and even cheering for them.
6) Is there a specific tone you'd like to set in your publication? What kind of voices grab you and keep you enthralled? Any examples?
It's difficult to end the world without it being dark! That said, dark with no glimpses of light is boring. There has to be some hope--even if it ends up being futile--or you're left with a pretty bland story.
7) What is your policy for vulgarity, violence, and sexual content? Any taboos?
I'm not interested in extremes just to be extreme. Vulgarity and violence are fine as long as they're enhancing the story in a realistic way and not a distraction. Sex in books is fine, but I'm not looking for material that's overly descriptive sexually.
8) What kind of themes are you seeking most in submissions to this market? In general, what themes interest you?
I'm fascinated by any story where a person or group is caught in a situation where they must come up with creative ways to fight or survive. The situations that force everyone to become a MacGuyver. Whether it's scrounging to survive a zombie apocalypse, being shipwrecked on a desert island, or being locked down in a skyscraper fighting terrorists, I can't get enough. But the best tales like these are the ones that also use these desperate situations to remind us of what’s important: relationships, love, family, endurance. Throw MacGuyver into the zombie apocalypse and you'll have a heck of an entertaining novel. Throw MacGuyver into a zombie apocalypse and make readers cry, and you'll have a book with potential to become a classic.
9) Overall, do you prefer downbeat or upbeat endings?
I can't say I prefer one over the other; I'm open to either.
10) Any last advice for submitters to this market? Any critical do's or do not's?
I encourage anyone submitting to spend some time on your query letter. As I mention in the guidelines, your query letter is either going to open the door for your novel, or close it. Make sure your description of your book sounds like something you'd actually want to read, not just a dry plotting of the novel’s main points.
It's been said a million times before, but get someone--ideally multiple people--to read your novel and give you feedback. Generally writers (me included) just aren't good at seeing the problems in their own work.
For more scoops, go to marketscoops.blogspot.com.
D.L. Snell writes with Permuted Press. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. You can shoot D.L. Snell in the head at www.exit66.net.
To reprint this article, please contact D.L. Snell.
- Publisher: Permuted Press
- Editor(s): Jacob Kier
- Pay Rate: Varies, advance paying
- Response Time: 30 days for query, 6 months for manuscripts
- Reading Period: Until filled
- Description: Seeking apocalyptic, time travel, Cthulhu Mythos, and other genre novels.
- Submission Guidelines: permutedpress.com
THE SCOOP
1) What authors do you enjoy, and why does their writing captivate you?
I love old school Stephen King, Dean Koontz and Richard Laymon. I'm a big fan of Douglas Preston and Lincoln Child. I'm less likely to follow a particular author these days than to be drawn to interesting ideas, setups, or situations.
Within the apocalyptic/zombie genres, I've really enjoyed Brian Keene, Jonathan Maberry, and Simon Clark's work. My absolute favorite apocalyptic novel is Cormac McCarthy's The Road.
2) What are your favorite genres? Which genres would you like to see incorporated into submissions to this market?
It should be obvious looking at the Permtued catalog that I love zombie fiction and apocalyptic fiction in general. I'm attempting to bring in more variety this time by also looking at time travel novels and novels that make use of Lovecraft's Cthulhu Mythos.
3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
I'm not opposed to any setting, but I do tend to be more interested in real settings rather than fantasy or futuristic settings. Generally the situation and characters are more crucial to me than the setting.
4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
I think any good novel is going to take the time to develop characters and include slower thoughtful moments, but I'm less inclined to be interested in novels which have long slow periods, or which build up too slowly. Most often I'm into novels that have a good flow of fast pace mixed with slower moments.
5) What types of characters appeal to you the most? Any examples?
It seems somewhat cliché I suppose, but I like normal characters thrown into abnormal situations. How does the school teacher react to the apocalypse? What does the southern farmer do when confronted with Lovecraftian monstrosities? Exploring what happens when the average Joe is pushed to the extreme interests me.
One other that sticks out is that, despite that they don't line up with my personal philosophy at all, I'm often drawn to charismatic nihilistic characters--Fight Club's Tyler Durden comes to mind. The characters who are so self-centered that you want to loathe them, and yet you find yourself liking and even cheering for them.
6) Is there a specific tone you'd like to set in your publication? What kind of voices grab you and keep you enthralled? Any examples?
It's difficult to end the world without it being dark! That said, dark with no glimpses of light is boring. There has to be some hope--even if it ends up being futile--or you're left with a pretty bland story.
7) What is your policy for vulgarity, violence, and sexual content? Any taboos?
I'm not interested in extremes just to be extreme. Vulgarity and violence are fine as long as they're enhancing the story in a realistic way and not a distraction. Sex in books is fine, but I'm not looking for material that's overly descriptive sexually.
8) What kind of themes are you seeking most in submissions to this market? In general, what themes interest you?
I'm fascinated by any story where a person or group is caught in a situation where they must come up with creative ways to fight or survive. The situations that force everyone to become a MacGuyver. Whether it's scrounging to survive a zombie apocalypse, being shipwrecked on a desert island, or being locked down in a skyscraper fighting terrorists, I can't get enough. But the best tales like these are the ones that also use these desperate situations to remind us of what’s important: relationships, love, family, endurance. Throw MacGuyver into the zombie apocalypse and you'll have a heck of an entertaining novel. Throw MacGuyver into a zombie apocalypse and make readers cry, and you'll have a book with potential to become a classic.
9) Overall, do you prefer downbeat or upbeat endings?
I can't say I prefer one over the other; I'm open to either.
10) Any last advice for submitters to this market? Any critical do's or do not's?
I encourage anyone submitting to spend some time on your query letter. As I mention in the guidelines, your query letter is either going to open the door for your novel, or close it. Make sure your description of your book sounds like something you'd actually want to read, not just a dry plotting of the novel’s main points.
It's been said a million times before, but get someone--ideally multiple people--to read your novel and give you feedback. Generally writers (me included) just aren't good at seeing the problems in their own work.
For more scoops, go to marketscoops.blogspot.com.
D.L. Snell writes with Permuted Press. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. You can shoot D.L. Snell in the head at www.exit66.net.
To reprint this article, please contact D.L. Snell.
Friday, October 15, 2010
Interview – Dan Henk, Tattoo Artist and Writer
Up next in Wayne Simmons's series of interviews with people that he particularly respects within the sci-fi and horror genre is tattoo artist and writer Dan Henk. Dan is respected worldwide as one of the finest horror and realist tattoo artists around, and Wayne is honoured that he has taken time out of a hectic schedule to answer these questions.
WS: So, who are you and how do you contribute towards the horror and sci-fi genre?
DH: I’m Dan Henk. I do everything from paintings, storyboards, writing, tattooing and secret assassinations for the CIA – but don’t tell anyone!
My paintings and writing almost always involve horror and I’ve been in quite a few galleries, 6 books and a slew of magazines. Tattoo-wise I do a slightly broader range of material, almost anything realistic (except religious stuff). however, I’m fairly well know in the tattoo community as a horror artist. I’ve been a featured tattoo artist in over 30 magazines and 5 books.
WS: What attracts you to the horror/ sci-fi genre?
DH: It’s the best genre going! Fuck that run of the mill “daily drama” shit!
Seriously, I think any good story and/or artwork needs a good sense of drama, suspense and other foundation elements but any story is better when you add an element of sci-fi or horror!
WS: You specialise in horror realism. Why do you think people like to get archetypal horror images tattooed on their bodies?
DH: They identify with the movies. The outcast, “anti-square-conformist world” implications of it. To them, and to me, the monsters are the heroes, they’re the stars that make the story worth telling.
WS: How much of your tattoo work is custom? How different is the process to creating a custom horror tattoo to reproducing an image from a film/ comic etc.?
DH: Well, everything I do, I draw up with my take on it. So it might be Travis Bickle or Jason Vorhees but it isn’t a dead ringer from a scene you will see in a movie. I often put my own slant on a customer’s idea to shift even the more serene or everyday material towards horror. After all, that is why they came to me. For example, I’m currently doing a Batman sleeve. I made the Batman more dark and aggressive and the Joker a zombie. I do portraits as well, again with a bit of a reinterpretation because; although there are plenty of straight forward portrait artists, people tend to come to me because they want something a bit darker.
WS: You’ve also written a sci-fi/ horror novel – tell us a little about that.
Read more...
For more interviews and book reviews by Wayne Simmons, go to www.waynesimmons.org
Belfast born, Wayne Simmons, has been loitering with intent around the horror genre for some years. Having scribbled reviews and interviews for various zines, Wayne released his debut horror novel, DROP DEAD GORGEOUS, through PERMUTED PRESS. The book was received well by both fans of the genre and reviewers alike. In April 2010, the rights to DROP DEAD GORGEOUS reverted back to Wayne. An extended version of DDG will be released through SNOWBOOKS in 2011.
Wayne released the zombie apocalyptic horror novel, FLU, through SNOWBOOKS in April 2010.
In what little spare time he has left, Wayne enjoys running, getting tattooed and listening to all manner of unseemly screeches on his BOOM-BOOM Box…
Wednesday, October 6, 2010
The Zombie Feed, Vol. 1 antho
THE MARKET
THE SCOOP
1) What authors do you enjoy, and why does their writing captivate you?
For novel length works, I'm a big fan of the following authors: Charlie Huston, Richard K. Morgan, Cormac McCarthy, Cherie Priest, Ekaterina Sedia, Brian Keene (I could really list a bunch more but that's a good start).
For short fiction, I like: Jennifer Pelland, Catherynne M. Valente, Mary Robinette Kowal, Peter M. Ball, Joe Hill, Lavie Tidhar (again, this is just a small sampling).
For many of these writers, I am drawn to their ear for dialogue and narration. They understand the poetic rhythm and cadence of the English language (Huston, McCarthy, Sedia, Valente, Hill, Tidhar). And others excel in plot and characterization (Morgan, Priest, Keene, Pelland, Kowal, Ball). And naturally, all these authors are, at minimum, really damn good at both.
2) What are your favorite genres? Which genres would you like to see incorporated into submissions to this market?
I'm a fan of dark SF. While I'm looking for traditional zombie fiction for the anthology, I would be quite pleased to see quality cross genre work.
3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
I enjoy scenarios where the protagonists are fighting against the odds. This can be in the form of a doomsday scenario, being trapped in a barn surrounded by zombies, having just been bitten and knowing death (zombification!) is imminent. Yet, it is important that there be more to the story than just the setting.
4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
I like a slow burn. Static mood pieces, when done properly, excite me. I'm also a fan of a well-written action packed work.
5) What types of characters appeal to you the most? Any examples?
I like the 'McCready' character as seen in Carpenter's THE THING. Clever characters are my favorite.
6) Is there a specific tone you'd like to set in your publication? What kind of voices grab you and keep you enthralled? Any examples?
Dark. Nearly hopeless. It's the zombie apocalypse!
7) What is your policy for vulgarity, violence, and sexual content? Any taboos?
Not much bothers me at this point. Having read slush for Apex for five years I've become impervious to most nasty crap.
8) What kind of themes are you seeking most in submissions to this market? In general, what themes interest you?
The struggle to survive. Fighting against great odds. Typical zombie metaphors.
9) Overall, do you prefer downbeat or upbeat endings?
Downbeat.
10) Any last advice for submitters to this market? Any critical do's or do not's?
I'm not a fan of unhappy, bitter characters. If your story opens with a man bemoaning his miserable marriage/job/life, you're not doing yourself any favors with me.
For more scoops, go to marketscoops.blogspot.com.
D.L. Snell writes with Permuted Press. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. You can shoot D.L. Snell in the head at www.exit66.net.
To reprint this article, please contact D.L. Snell.
- Antho: The Zombie Feed, Vol. 1
- Publisher: The Zombie Feed (an imprint of Apex Publications)
- Editor(s): Jason Sizemore
- Pay Rate: 1¢ / word
- Response Time: 4-6 weeks for rejection. Longer if your story is held.
- Reading Period: Until October 31st, 2010
- Description: The Zombie Feed, Vol 1 is an introductory anthology for our new zombie book imprint. The stories we're looking to publish can be thought of as more traditional zombie fiction…end of the world scenarios, social issues, etc. Like Romero attempts in his films. (More in guidelines.)
- Submission Guidelines: thezombiefeed.biz
THE SCOOP
1) What authors do you enjoy, and why does their writing captivate you?
For novel length works, I'm a big fan of the following authors: Charlie Huston, Richard K. Morgan, Cormac McCarthy, Cherie Priest, Ekaterina Sedia, Brian Keene (I could really list a bunch more but that's a good start).
For short fiction, I like: Jennifer Pelland, Catherynne M. Valente, Mary Robinette Kowal, Peter M. Ball, Joe Hill, Lavie Tidhar (again, this is just a small sampling).
For many of these writers, I am drawn to their ear for dialogue and narration. They understand the poetic rhythm and cadence of the English language (Huston, McCarthy, Sedia, Valente, Hill, Tidhar). And others excel in plot and characterization (Morgan, Priest, Keene, Pelland, Kowal, Ball). And naturally, all these authors are, at minimum, really damn good at both.
2) What are your favorite genres? Which genres would you like to see incorporated into submissions to this market?
I'm a fan of dark SF. While I'm looking for traditional zombie fiction for the anthology, I would be quite pleased to see quality cross genre work.
3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
I enjoy scenarios where the protagonists are fighting against the odds. This can be in the form of a doomsday scenario, being trapped in a barn surrounded by zombies, having just been bitten and knowing death (zombification!) is imminent. Yet, it is important that there be more to the story than just the setting.
4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
I like a slow burn. Static mood pieces, when done properly, excite me. I'm also a fan of a well-written action packed work.
5) What types of characters appeal to you the most? Any examples?
I like the 'McCready' character as seen in Carpenter's THE THING. Clever characters are my favorite.
6) Is there a specific tone you'd like to set in your publication? What kind of voices grab you and keep you enthralled? Any examples?
Dark. Nearly hopeless. It's the zombie apocalypse!
7) What is your policy for vulgarity, violence, and sexual content? Any taboos?
Not much bothers me at this point. Having read slush for Apex for five years I've become impervious to most nasty crap.
8) What kind of themes are you seeking most in submissions to this market? In general, what themes interest you?
The struggle to survive. Fighting against great odds. Typical zombie metaphors.
9) Overall, do you prefer downbeat or upbeat endings?
Downbeat.
10) Any last advice for submitters to this market? Any critical do's or do not's?
I'm not a fan of unhappy, bitter characters. If your story opens with a man bemoaning his miserable marriage/job/life, you're not doing yourself any favors with me.
For more scoops, go to marketscoops.blogspot.com.
D.L. Snell writes with Permuted Press. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. You can shoot D.L. Snell in the head at www.exit66.net.
To reprint this article, please contact D.L. Snell.
Friday, October 1, 2010
Graveside Tales publisher
THE MARKET
THE SCOOP
1) What authors do you enjoy, and why does their writing captivate you?
As a reader and an editor, strong world-building skills, compelling characterization and unique emotive style are qualities I cherish in an author. My list of favorites is a mile long, but the three that immediately spring to mind are Orson Scott Card, Clive Barker and George Orwell. Card does a wonderful job of creating recognizable worlds and vibrant, well-rounded characters. Barker has a knack for evoking a wide range of emotions over the course of a single story. And Orwell's satirical style and dystopian settings are simply timeless; the content of his works is just as relevant today as it was when it was written.
2) What are your favorite genres? Which genres would you like to see incorporated into submissions to this market?
Horror titles—both large and small press—take up a large portion of my bookshelf, but I also enjoy comedy, sci-fi, fantasy, steampunk, mystery, political thrillers, and erotica. Bizarro and paranormal/pulp romance... not so much. We would like to see more genre blends, particularly those incorporating humor, science fiction, fantasy and Western elements.
3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
Ordinary, real-world locales are my personal preference, but I do not object to exotic or otherworldly settings when it comes to submissions. The time period does not really matter.
4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
It depends on the story. Slow build-ups are great, provided the tension is maintained throughout. The same can be said of more action-oriented pieces. The consistency of the story's pacing is more important to me than anything.
5) What types of characters appeal to you the most? Any examples?
I don't have a preference when it comes to specific types of characters. All I ask is that they be fully developed and play their part in a realistic manner (and that includes engaging in believable dialogue). A manuscript featuring blatant stereotypes or unconvincing characters will probably not make it past the first round of reviews.
6) Is there a specific tone you'd like to set in your publication? What kind of voices grab you and keep you enthralled? Any examples?
Any unique, well-written horror story with compelling characters and an intriguing plot will be considered. While we do expect the tone to be dark, we are not looking for a specific kind of "voice." We like to offer readers a variety of writing styles to choose from—a little something for everyone, if you will.
7) What is your policy for vulgarity, violence, and sexual content? Any taboos?
Graveside Tales does not usually censor its authors, but we tend to avoid publishing pieces containing overt racism, explicit depictions of child abuse, and pointless torture or rape. That said, as long as the content in question is essential to the story and not included solely for shock value, it will be considered.
8) What kind of themes are you seeking most in submissions to this market? In general, what themes interest you?
We are looking for solid, character-driven novels and novellas containing supernatural elements (think monsters and madmen). Genre blends are also welcome, provided the focus remains firmly on horror. Topics that have been overused, like post-apocalyptic zombies and clichéd paranormal romance themes, will likely be rejected.
9) Overall, do you prefer downbeat or upbeat endings?
Personally, I favor downbeat or open endings, but what I read for my own pleasure and what is acceptable in a submission are two different things. The story determines the ending, and as long as the ending is sensible and fits the work as a whole, its tone is irrelevant.
10) Any last advice for submitters to this market? Any critical do's or do not's?
Three things. One: do your homework on the venues to which you intend to submit, and only send those pieces that fit the publication's requirements. When in doubt, query. Two: have a couple of beta readers review your work before sending it off. A proofreader's input is invaluable in helping clean up grammatical issues or fill obvious plot holes. And three: follow the guidelines. I know every editor mentions guidelines in the dos and don'ts section, but you'd be surprised at how few submitters actually adhere to them. Your manuscript stands a much better chance of being reviewed promptly if it sticks to the requested layout.
For more scoops, go to marketscoops.blogspot.com.
D.L. Snell writes with Permuted Press. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. You can shoot D.L. Snell in the head at www.exit66.net.
To reprint this article, please contact D.L. Snell.
- Publisher: Graveside Tales
- Editor(s): Myrrym Davies
- Pay Rate: No monetary advance; royalties average +/- 15%.
- Response Time: 20 - 30 days
- Reading Period: Twice yearly: March 1 - May 30 and September 1 - November 30
- Description: Publishes horror and dark fiction novels, novellas, and anthologies with a supernatural angle, as well as select backlisted titles.
- Submission Guidelines: www.gravesidetales.com
THE SCOOP
1) What authors do you enjoy, and why does their writing captivate you?
As a reader and an editor, strong world-building skills, compelling characterization and unique emotive style are qualities I cherish in an author. My list of favorites is a mile long, but the three that immediately spring to mind are Orson Scott Card, Clive Barker and George Orwell. Card does a wonderful job of creating recognizable worlds and vibrant, well-rounded characters. Barker has a knack for evoking a wide range of emotions over the course of a single story. And Orwell's satirical style and dystopian settings are simply timeless; the content of his works is just as relevant today as it was when it was written.
2) What are your favorite genres? Which genres would you like to see incorporated into submissions to this market?
Horror titles—both large and small press—take up a large portion of my bookshelf, but I also enjoy comedy, sci-fi, fantasy, steampunk, mystery, political thrillers, and erotica. Bizarro and paranormal/pulp romance... not so much. We would like to see more genre blends, particularly those incorporating humor, science fiction, fantasy and Western elements.
3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
Ordinary, real-world locales are my personal preference, but I do not object to exotic or otherworldly settings when it comes to submissions. The time period does not really matter.
4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
It depends on the story. Slow build-ups are great, provided the tension is maintained throughout. The same can be said of more action-oriented pieces. The consistency of the story's pacing is more important to me than anything.
5) What types of characters appeal to you the most? Any examples?
I don't have a preference when it comes to specific types of characters. All I ask is that they be fully developed and play their part in a realistic manner (and that includes engaging in believable dialogue). A manuscript featuring blatant stereotypes or unconvincing characters will probably not make it past the first round of reviews.
6) Is there a specific tone you'd like to set in your publication? What kind of voices grab you and keep you enthralled? Any examples?
Any unique, well-written horror story with compelling characters and an intriguing plot will be considered. While we do expect the tone to be dark, we are not looking for a specific kind of "voice." We like to offer readers a variety of writing styles to choose from—a little something for everyone, if you will.
7) What is your policy for vulgarity, violence, and sexual content? Any taboos?
Graveside Tales does not usually censor its authors, but we tend to avoid publishing pieces containing overt racism, explicit depictions of child abuse, and pointless torture or rape. That said, as long as the content in question is essential to the story and not included solely for shock value, it will be considered.
8) What kind of themes are you seeking most in submissions to this market? In general, what themes interest you?
We are looking for solid, character-driven novels and novellas containing supernatural elements (think monsters and madmen). Genre blends are also welcome, provided the focus remains firmly on horror. Topics that have been overused, like post-apocalyptic zombies and clichéd paranormal romance themes, will likely be rejected.
9) Overall, do you prefer downbeat or upbeat endings?
Personally, I favor downbeat or open endings, but what I read for my own pleasure and what is acceptable in a submission are two different things. The story determines the ending, and as long as the ending is sensible and fits the work as a whole, its tone is irrelevant.
10) Any last advice for submitters to this market? Any critical do's or do not's?
Three things. One: do your homework on the venues to which you intend to submit, and only send those pieces that fit the publication's requirements. When in doubt, query. Two: have a couple of beta readers review your work before sending it off. A proofreader's input is invaluable in helping clean up grammatical issues or fill obvious plot holes. And three: follow the guidelines. I know every editor mentions guidelines in the dos and don'ts section, but you'd be surprised at how few submitters actually adhere to them. Your manuscript stands a much better chance of being reviewed promptly if it sticks to the requested layout.
For more scoops, go to marketscoops.blogspot.com.
D.L. Snell writes with Permuted Press. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. You can shoot D.L. Snell in the head at www.exit66.net.
To reprint this article, please contact D.L. Snell.
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