Any curmudgeon out there will tell you the problem with the kids these days is a sense of entitlement. I think that's what every generation says. "You mean, some bus comes to your house and picks you up for school? In my day I had to walk 20 miles, along a snow mountaintop, to reach the 10-mile-away point . . . ."
The second thing they might tell you, is that more and more youngsters aren't doing their homework. That is, social media ruined our true connection with people & the spoken/written word. If no one's reading and writing, they're losing out big time. However, that's just not the case.
I've roamed around the web a few times, and now there seems to be a combination of recreational social media use and, of course, the homework. And guess what? Youngsters are online and writing more than ever.
One reason why horror stories may not be as popular as they once were has little to do with vampire-/zombie-/monster-romances and is more related to the difference between sight and perception. While certain sub-types have watered down the genre as a whole, the real problem is film.
See why I say horror literature will always trump film. Let me know if you agree.
I recently stumbled across an article about a bestselling writer who wants to either stop libraries from lending out books or force them to pay a substantially larger royalty.
Terry Deary, author of the children's series Horrible Histories, lashed out in The Guardian about the irrelevancy of libraries & the harm they cause writers, editors, and publishers.
Here's what he had to say:
Kelsey Timmerman, author of Where Am I Wearing?, Where Am I Eating?, former mentor, and the only writer I know who can catch a glimpse of someone's undies and recognize their origins, tagged me in The Next Big Thing Blog Hop.
Check out Kelsey's answers on his work in progress.
Now take a breath and prepare yourself for my journey.
There's a lot of talk these about digital copying ("piracy") in the literature world.
While torrents and other methods of illegally downloading copyrighted material seem like the concern of yesteryear, the truth is, it's relatively news for the publishing world.
Moreover, the music industry changed due to illegal sharing, and the film industry is adapting as well. It's as though when people started downloading media, they spaced out the part about books, and to compensate they're stealing whole libraries.
But honestly, it doesn't bother me too much. Here's why:
Transgressive fiction is nothing new. In fact, although I coin myself a transgressive writer, it's kinda like saying punk rock after the 1980s. To be a true trangressive writer, many would argue you must've been a published pen between the late 1800s and early 1900s. However, many writers of the new and sorta new can be found quite easily today, such as Amy Hempel and Chuck Palahniuk. Oh yeah, James Joyce - you know Ulysses - is a pretty common gem. While we're name dropping: Bret Easton Ellis, Anthony Burgess, Elizabeth Young.
Trangressive fiction started with prose that was often banned or chastised for being too obscene, too vulgar, or just too close to home. These stories brought the social struggles of their times into an honest - admittedly sometimes dark - portrayal. Some people go to the extreme, while others might just rip on consumerism.
The thing about transgressive fiction is that's it's about what's right. Here a 3 points to consider if you ever find yourself bored in a Barnes & Noble and want to count the trangressive writers throughout the entire store.
Today I was spoiled with an opportunity to interview author Andrew Cyrus Hudson, the mastermind behind Somewhere in the Shadows: The Anthology. See, he's the guy who designed the book and had it made.
He's worked with multiple aspects of publishing, and his passion resides in producing a book from the ground up. He's also the guy who asked me to be in the short story collection. You know that "Charlatan" thing I've been, admittedly, self-promoting like crazy as of late? That's the short story I contributed.
For now, here are the publishing-related questions and his uncensored response to them all.
C.M. Humphries (C):
How long did the entire publishing process for Somewhere in the Shadows take?
Andrew Cyrus Hudson(A):
If we're talking about the time it took to produce it, not that long. The short story, all drafts, just took an hour a day for about a week or two and the rest of the time was simply contacting people (ironically the email updates probably took the most time). However, it's not a simple matter of writing a short story and getting everyone together. It's waiting on the production to take place and for people to get back to you. So with that taken to account, I started contacting everyone December of 2011 and finally got it out December 2012, making it about a year to get it made.
C: How did you decide which authors would be in the anthology?
A: There were several different methods of figuring out which authors should be on the list. The easiest ones were my writer buddies I already knew, such as Jonathan D. Allen. All I had to do was shoot him an email asking if he'd be interested in doing an anthology (or in the case of writer buddy Andrez Bergen, he contacted me with an interest in doing it). Everyone else though, was a discovery. Marissa Farrar was an interesting find because I found her through the "also purchased" links in Drift (back when I miscategorized Drift as horror instead of thriller). But everyone else was mostly discovered through a simple process. I'd look at various followers and followers of followers on Twitter, see if they wrote in a vein close to horror, check out their site, determine if they're decent writers (as in check out their samples or bibliography and see if they can in fact write a short story), and then get into contact with them. Some indie/small pub writers who wrote big horror novels politely declined because they weren't comfortable with writing short stories (lesson learned: not every authors has written a short story or knows how to). Some authors who climbed on board backed down later due to obligations that are completely understandable. So in the end, the author list was more by chance and it ended up working out perfectly.
C: What were the overhead expenses for producing such an anthology?
A: The overhead cost of an anthology is the same for any self-published novel. Meaning that it can be as cheap or as expensive as you want. Remember that it doesn't have to cost you an arm and a leg if you do your research. But also remember that cheap people get cheap results, and you can't cut corners and rip people off if you want to have a good anthology (and be a decent human being). The total cost (mainly formatting and art) was about $120.00 all together. But as stated before, it could be a free or a few grand depending on how much of it you do yourself and who you hire.
C: What are your future plans for Somewhere in the Shadows or for other story collections?
A: I'd like to eventually get Somewhere in the Shadows in CreateSpace and Smashwords format early next year. As well as try to get it in the hands of a few more readers who aren't my friends or family before it inevitably falls off the charts. As far as other plans go..
-Somewhere in the Stars: If Somewhere in the Shadows is about horror, then the next logical progress would be science-fiction. It would be a collection of short stories having to do with either space, exploration beyond the ordinary, or other planets. I'd like to bring back all of the crew from Somewhere in the Shadows and possibly a new writer or two (I guess making an anthology is kind of like The Expendables). Although I'd have to wait until early summer before I even think about doing another anthology. Otherwise I'd burn out and go crazy.
-Collaborative Book: I always wanted to do a collaborative book. Perhaps write a novel with a fellow author or even multiple authors to see how crazy the direction would take us. Or maybe write a fictional world/town with a specific set of rules and then we'd all get to write stories set in that place.
-Writer's Faction: This is the most important thing above all. This wouldn't be like a writer's group, which is essentially a support group. This would almost be like a publisher, except that we wouldn't have to pay into it. Basically we'd help each other out. When we do promotions (e.g free book), we do it together. A larger fan-base for one writer would be a larger fan-base for all. I don't want to sound doom and gloom here but I think writers who go it alone in the digital biz are going to find it increasingly difficult as time goes on. Self-publishing doesn't have to mean alone-publishing.
C: Where can everyone find you online?
A: Everyone can find me at andrewcyrushudson.net . I'm actually starting a website all over again (long story short, GoDaddy.com now owns andrewcyrushudson.com), so apologies for the site being somewhat under construction.
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Ask Andrew Cyrus Hudson Anything About Somewhere in the Shadows or independent & self-publishing in the comments - and earn points towards a hand-bound edition of No-Injury Policy!
At some point in our lives, most of us have spent time with another human being, who at first seemed quite lovely and breath-taking, but later wanted to take our breaths away literally. While there might be some sort of attraction to said person or a deep case of sympathy, someone who is genuinely frightened or concerned by their significant other would make the hard choice of walking away. However, for those of us who were not the "psychopaths", we might've made the worst decision ever. Why? Well, you'll have to continue reading. You might just be surprised by what follows.
By nature, literature has always remained somewhat conservative. I don't mean this in any political way, and I don't mean the content is too PG (I think that wave is almost over). When I say literature is a bit too conservative, I mean the concept of a book or publication. Literature has always been slow to react, as we saw with the Big 6's hesitance towards eBooks. And even though we're somewhere in the transition from print to digital, I don't think the eBook will ever save literature, so to speak. I've come up with 3 ideas for literature to save itself, or otherwise it might contribute to it's own death.
Halloween is already in the past, but for me the scares have only begun. Most people will read eerie stories or watch one of the thousand Stephen King adaptations they play on every channel before and after FX - just for one night! To me, this is the time of year during which I wolf down numerous eerie tales. However, as of late, I'm having a hard time finding some good, scary tales. It seems the villains have been watered down. You can save that stuff for the kiddies. If you want a better villain, consider what's next in this entry.