Midnight Echo is ramping up to the release of Issue 8 at the end of November — herewith, some dirt on my yarn in the magazine, ‘Hello Kitty’. It includes an extract, which makes me stress that the attitudes and opinions of characters therein are not necessarily those of the author …
Other writers in the mag include Joe R Lonsdale, Felicity Dowker, Joanne Anderton, Jason Fischer and Andrew J McKiernan — and MORE!
And Issue 9, with a theme of legends, is open to submissions.
Hot on the heels of Penguin’s new open door program, British press Angry Robot is again appealing to unagented authors — they signed three debut novelists from last year’s program — but this time are being quite specific about what they want: classic fantasy and YA SF and fantasy. The submission period is April 16-30 using a website uploader. Details are here.
Tansy Rayner Roberts is sharing the love — a combined book launch with Margo Lanagan for those lucky enough to have easy access to Hobart (Lanagan has riffed her Sea Hearts novella from X6 into a novel, how tasty!) — and a reprint that shows even a story written for a specific universe can have legs outside it (and indeed, TRR’s yarn breaks more boundaries than that little piffle).
Alan Baxter has shared his love, too: the forthcoming ‘paranoirmal’ anthology Damnation and Dames from Ticonderoga with its whoop arse cover and two collaborations in its TOC. I look at the bare scraping of confused and contradictory notes on my hard drive and lament; there are two more upcoming titles I doubt I’ll be able to submit to, but they’re worth a look: issue 7 of Midnight Echo, closing this month, and another paranormal anthology, Bloodstones, open February–May.
And here’s pause for thought in the aftermath of Australia Day, in which Lit-icism considers the call for renewed focus on Australian literature. The part that especially struck a chord with me was this, from Italian academic Tim Parkes:
Parkes laments what is essentially a globalisation of literature in which novels provide no authentic sense of place at all, but are instead tailored to a global market by dealing with ‘universal’ – read: more widely marketable and international prizewinning – themes.
This is partly why I took up the pen with a view to being published — to see my country, my culture, reflected in the types of stories that I like to read. It’s heartening to see authors such as Trent Jamieson able to set their fiction in Brisbane — Brisbane! — and still find not only a wider audience, but an overseas publisher willing to run with it. It’s pleasing to see someone send some Aussie sensibility across the water, rather than regurgitating a trope-laden backdrop of New York or London.
It’s not just eucalyptus trees (hey, they have plenty in California, anyway) — it’s viewpoint. It’s attitude. It’s how we see the world. Sharing these things is how we help us all to understand each other — not just the different priorities or approaches we might take, but also the similarities: parents what a better world for their children, for instance. Language plays an incredibly powerful part in informing culture, and where else to find its evolution than in literature?
Parkes is talking about more than setting: he’s talking about themes and those, he suggests, can be culturally specific and deserve attention. Sure, though I’m not convinced that domestic themes don’t have wider resonance.
Australia doesn’t have the history of European countries in dealing with certain social ills, for instance — no civil war, no religious schisms — but the social history of those events can still impact on us; we can see movements here, we can relate to the humanity of the issue, we can learn a lesson.
And I wouldn’t be so quick to dismiss universal themes. Harking back to Australia Day, is the Australian experience of colonialism, from invader or invaded viewpoint, any different to that of Canada or South Africa? How? What does it do to us? Perhaps a culture’s, or a subculture’s, response to those universal themes is equally important as those purely domestic discussions (assuming they exist).
“If you dance with the Devil Wombat, you get cornholed by the Devil Wombat.”
This is an example of a theme, as espoused by Chuck Wendig over at his blog: there are 25 superb points about the importance of theme to a story, and some have got me totally cracked up. Laughing and learning at the same time: gold. Plus, what’s not to love about a devil wombat?
In other news:
From theme to suspense: Ian Irvine, whose website I’ve recommended before due to his insightful advice on the publishing industry, has offered a whole bunch of summaries about building suspense in a story. There’s a bit of crossover, but overall, it’s good stuff.
The Australian Horror Writers Association, which fell into something of an open grave this year, looks as if it’s scrambling out, announcing a dedicated page for its mag, Midnight Echo (subs for issue 7, theme of ‘taboos’, open Oct 1 — OMG that’s tomorrow, where has the year gone?) and promising rejuvenation in the new year. The mag is having a subscription drive: you can win stuff.
Speaking of zombies, Cam Rogers has expressed his love here. And Chuck McKenzie’s Necroscope is still shambling along nicely, nom nom nom.
And Michael Pryor is, for those patient souls looking for almost guilt-free procrastination, has listed a vid of ‘how writers write‘.
And then there’s this (reported at the Guardian UK — where, non-writerly, you can listen to the whole new Zola Jesus album, Conatus, but having done so, I think it might be a slow burner, a bit like her Stridulum II which has great tracks but kind of wears all at once…): Amazon’s new line of Kindles, including the Touch and the Fire. Resistance to the juggernaut is becoming futile with the plummeting price point, restrained only by geography, it seems.