Genre Fiction

Blog Posts

Business Time: Handselling Part One – The Chain of Selling

When you’re in traditional trade publishing, as I am, you quickly learn that there are a lot of people working on any given book. Not just the editor, the publicist, and the marketing manager, but sales reps, digital sales staff, warehouse staff, and more. Publishing with a larger press involves becoming part of a very large publishing effort. When you’re sitting in the place of the author, that is both exciting and terrifying. There are, on average, many people between you and the ultimate retail buyer, using the normal model. Having social media in place and attending conventions allows writers to connect directly, but in the normal publishing workflow, things go like this: You write a book. It’s awesome. Then you figure out how to sell that book to an agent — ‘sell’ here in terms of ‘convincing them it’s a project to get excited about.’ Then the agent sells it to an editor. The editor has to sell it to their Publisher and/or the editorial team. Then the team has to sell it to the sales, marketing, and publicity staff. Then the sales staff goes out into the field, to libraries, and so on, and sells the book to wholesalers and retailers. Then the retailers have to sell the book to readers. It’s a big chain, and in order to give the book the best chance to succeed, each person along the way has to be a bookseller — they have to learn how to

Blog Posts

The Disquieting Guest — A Panel on Horror Writing

Friday afternoon, I took part in a panel on horror writing organized by the Manitoba Writers’ Guild and hosted by the Arts and Cultural Industries Association of Manitoba. Chaired by Maurice Mierau, the panel consisted of Chadwick Ginther (author of the Norse urban fantasies Thunder Road and the recently-launched Tombstone Blues), Michael Rowe (in Winnipeg as part of the book tour for his ghost story Wild Fell) and myself. It was a very cozy setting to talk horror while a -30 C windchill howled outside, and while the event is fresh in my mind, I thought I’d touch on a couple points that came up in the discussion (and I thank Chris Borster for the idea of doing so). So here we go; any misrepresentations in the paraphrasing that

Announcements and Errata

Top 10 Posts and Episodes for November 2013

By popular demand (Paul!), I present to you the top 10 posts and episodes for November 2013.  Enjoy! Posts: Out-Brutalling the Last Guy:  “Grim and gritty, yes…but make sure it’s doing some honest work” by K.V. Johansen Worldbuilding:  Why It Ain’t So Easy by Stina Leicht Mining the Genre Asteroid:  Where Late the Sweet Birds Sang by Kate Wilhelm (post by Paul Weimer) Adventures in SF Parenting:  the Wild, Wild Web by Jen Zink Mining the Genre Asteroid:  Way Station by Clifford Simak (post by Paul Weimer) The Disquieting Guest — Horror in/and Fantasy by David Annandale LitBits:  The Politics of Author/Work Separation by Shaun Duke Movie Review:  Mama (2013) by Stina Leicht The Disquieting Guest — A Belated Explanation by David Annandale Geekomancer Under Glass:  Beyond the Capes (Part Two) by Mike Underwood Episodes: 177. Nick Mamatas — Love is the Law (An Interview) Episode 4.2 — Torture Cinema Meets The Wicker Man 175. Religion and Genre Fiction w/ Max Gladstone & David Levine (A Discussion) 176. Sam Sykes at Worldcon (An Interview of Sorts) 174. Cassandra Rose Clarke at Worldcon (An Interview of Sorts) 178. Emma Newman (a.k.a. Tea & Cake) — The Split Worlds Trilogy #05 — Pacific Rim (2013) — A Shoot the WISB Discussion w/ Michael R. Underwood #03 — Man of Steel (2013) — A Shoot the WISB Discussion w/ David Annandale and Michael R. Underwood Episode 84 — Women in Military SF (or The Kratman Rule is B.S.) 173. The Gate (1987) — A Torture Cinema “Adventure” (the Halloween Special)  

Blog Posts

Geekomancer Under Glass: Fall 2013 Pilots (Part Two)

This week, I’m going to take another look at Fall TV pilots in the geekiverse, from Tesla Steampunk Tony Stark to the latest Buddy Cops With Androids. Dracula The latest in a years-long trend of re-imaginings and re-boots, the Jonathan Rhys-Meyers-fronted Dracula takes the story forward to the early 20th century, where Vlad Tepes (a.k.a. Dracula) is resurrected from an intricate grave and heads to London to plot against the Ordo Draco, the group that destroyed his life and killed the love of his eternal life, Ilona.

The Skiffy and Fanty Show Podcasts

178. Emma Newman (a.k.a. Tea & Cake) — The Split Worlds Trilogy

http://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/SandFEpisode178AnInterviewWEmmaNewman/SandF%20–%20Episode%20178%20–%20An%20Interview%20w%20Emma%20Newman.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | iHeartRadio | Podchaser | Podcast Index | Email | TuneIn | Deezer | RSSEmpires, the Fae, and cake, oh my!  Emma Newman, author of The Split Worlds Trilogy, joins Paul and Shaun to discuss her novels, the mentality of empires, feminism in her work, history, and much more. We hope you enjoy the episode! Note:  If you have iTunes and like this show, please give us a review on our iTunes page, or feel free to email us with your thoughts about the show! Here’s the episode (show notes are below): Episode 178 — Download (MP3) Show Notes: Emma’s Website Emma’s Twitter Emma’s Books Tea & Jeopardy Angry Robot Books You can also support this podcast by signing up for a one month free trial at Audible.  Doing so helps us, gives you a change to try out Audible’s service, and brings joy to everyone. Our new intro music is “Time Flux” by Revolution Void (CC BY 3.0). That’s all, folks!  Thanks for listening.  See you next week.

Blog Posts

The Disquieting Guest — Horror in/and Fantasy

A few weeks back, Shaun quipped to me that horror is “fantasy with scary bits.” Even further back, a discussion went around on Twitter as to whether horror and epic or high fantasy could coexist. A few remarks this week (which I will get to in due course) had me thinking about this issue again. As I’ve argued previously, horror is too polymorphous to be considered a genre — any attempt to define it as such winds up with exclusions and inclusions so remarkable as to invalidate the definition. For example:  an insistence that there must be an element of the supernatural excludes the likes of Psycho, The Silence of the Lambs, The Texas Chainsaw Massacre, and so on. On the other hand, horror’s symbiotic/parasitic nature allows it

Scroll to Top