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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. 


Here's proof

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?


AThere 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!

 
 
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When expectations are high, money is tight, love is tainted and stress is ubiquitous, the citizens of Chase County will do anything to make sure they survive. From the deconstruction of a town to frivolous intercourse with strangers, No-Injury Policy explores the dark depths of human nature when social pressures peak. 


No sooner than the meek taste retribution, however, they encounter the demons that have aided authority figures to the top - demons that refuse to lose control no matter what it takes.

No-Injury Policy is the 1st short story collection by C.M. Humphries, showcasing seven of the eeriest tales from every town in Chase County: Raven's Crook, Lovington, Lakeside, and Long Brooke.



Following along as I provide a snippet of each story in the collection. If there's a picture to the left of the premise, that means I blogged on a topic from the story. Be sure to check them all out.


 
 

from No-Injury Policy (#NIP)

XVII.

          Minutes to midnight, the taxi dropped the boy off in front of Thomas Harrington’s home under a light rain. The boy paid his fare and tapped on the yellow roof of the car. As the driver sped off down the road, the boy neared the driveway, where he stole his first good look at the property. A lightly stained picket fence encompassed the outskirts of the yard, keeping some unwanted guests from ruining the even, dark grass. A light smoke derived from the chimney of the quaint one-story home.

          The boy kept walking down the driveway, following the thick essence of chimney smoke. He admired a small pond with a mini-geyser along the way until he reached the front door.

 
 

What You Write, Not Where

When I graduated from Ball State University, I had big plans for the future. Why not? I'd spent 4 years dipping a pen in my cerebral juices and constructing countless articles, research papers, short stories, flash fiction pieces, novels, screenplays, theoretical analyses, mis en scenes, and I battled exams and an endless series of sleepless nights. Not to mentioned I maintained reading gigs and a social life. I was ready for the real world.

Then, I entered the real world, and how I was wrong. A degree just meant I was with 70% of Americans, and around 50% of the unemployed. My big dreams, they seemed over. I was back in small-town, Indiana. No one I knew really liked to read. And as far as a career went, real life wasn't about pursuing your occupational goals, it was about finding a job that sounded like something you could do, although you wouldn't necessarily enjoy it or get to demonstrate your skill set.

When things went from worse to worst, I started to write more. However, writing now seemed daunting. I mean, how could I succeed as a writer when I was buried in some nowhere-town and surrounded by people who didn't want or have the time to read? I didn't even know another writer within 2 hours of travel. Until recently, I thought I was completely screwed.
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Then I read about this author named Arthur Longworth (which is a sweet name), who in 1985, was convicted of murder. Now before we begin, I don't condone violence or support many convicts, but what's interesting is how this man wrote.

I sat at my desk, in a Midwest abyss, wondering how I could succeed in my environment, when Longworth was in prison doing the same. In short, Longworth spent countless days and nights in "the hole" scrounging for the breadcrumbs his cell mates left him. 

Just when he tried to pick up the crumbs, the ants would come and take them away. So he began to notice how the ants could endure even in the worst environment. What an analogy! So he wrote about it.

His manuscript along with several subsequent works of literature have won him 2 National Literary Awards, including "Best Prison Memoir". Pulitzer-Winning author Junot Diaz even read his work on stage in New York.Colleges are started to adapt his work as well.

Although he writes about life in prison, he considers his writing an achievement: "It feels like a victory in some ways, because I'm not supposed to be able to do this," Longworth describes his success.


I think a lot of writers can relate to this. (The writing part, not the murder or prison elements.) To write in environment that doesn't believe in the art/craft is one of the most demotivating feelings an author can have. What's great, though, is haven written under tough circumstances. Writing isn't any easy gig, but that's why it feels so damn good to have that work of literature published. The harder it is to produce a manuscript, the better it feels when someone else is reading it, or even when a fan says, "I enjoyed this."

Writers tend to be against a fist when it comes to pursuing an artistic endeavor. There are so many elements which makes us want to succumb to the naysayers. But perseverance is the key to success, and the harder the struggle, the greater the reward. It doesn't matter where you writer, but that you keep on writing.

Source.

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