Aliens – The Truth Is Coming

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I have a short story out this week in a brand new anthology by Tickety Boo Press, UK. Aliens – The Truth Is Coming has a great line up of authors, with a wide variety of takes on the theme.

From the publisher:

Many of us look up into the wondrous night sky and know that we are looking at a galaxy full of life. It doesn’t matter that we haven’t discovered definitive proof of it yet – we know it’s out there and, perhaps, looking back at us, wondering the same thing in return.

The stories in this anthology explore myriad ideas of what ‘extra-terrestrial’ could mean. Not only to humanity, but to individuals. 

You will read stories of invasion, stories of loss and discovery, stories of trickery and subjugation, and so much more.
This anthology throws the doors wide open, and all you need do is step through… 

And here are the authors:

Foreword and Acknowledgements by Andrew Angel

Stories:

In Plain Sight by Juliana Spink Mills

Geometry by Alex Davis

Gods of the Ice Planet by Adrian Tchaikovsky

Island Visit by Nathan Hystad

Even the Klin Are Only Human by Bryn Fortey

A New Dawn by Liz Gruder

Rent by Steven Poore

Salvage by MJ Kobernus

The Devil’s Rock by William Anderson

The Man Who Wasn’t Dead by Terry Grimwood

We Three Remain by Stewart Hotston

Welcome to Cosmic Journey by Michael Chandos

The Zoo of Dark Creatures by Leslie J Anderson

Here by Tim James

 

You can find the anthology on Amazon UK and Amazon US.

The Write Stuff: author blogs

So you’re a writer. Perhaps you’re still at that fledgling phase, taking those first word-steps into the world of stories and looking for some guidance and support. Or perhaps you’re on your tenth novel and just looking for a jolt of inspiration. Wherever you are in your journey, inevitably there will be moments where a little craft advice comes in handy.

The Internet is full of free (FREE!) blog posts written by us writer-type folk out there. There’s something for everyone, for all tastes. I used to feverishly check out dozens of blogs by my favorite authors back when I was first starting out on my own writing journey, looking for pearls of wisdom from the Great And Published that resonated with me. Over time, I discovered a few that I love enough to keep checking on a regular basis. Here are JUST SOME of my many personal favorites – author blogs that give great writing advice or provide information I can apply to my own work.

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Chuck Wendig, for the writer’s blog equivalent of a shot of very dark espresso, or tequila perhaps, depending on the time of the day. Chuck’s blog isn’t for everyone – his writing advice is very sweary and tongue-in-cheek, but so much fun to read.

Jo Zebedee writes extremely candid blog posts on writing and publishing, and you really can’t go wrong for an honest breath of fresh air in the blogosphere. Her posts are always useful and to-the-point.

Thaddeus White’s blog has a mixture of writing posts, book reviews, and gaming write-ups. He’s always interesting, but my favorites are his history posts: prime inspiration material for muse-hungry writers. (I rather like this one on Eastern Empresses.)

The Winged Pen is a writing craft blog run by a group of both published and unpublished writers; there’s always plenty of good advice and they also have a monthly critique session contest.

Jim Butcher’s website has a hidden gem: if you click on his now inactive blog and scroll down to the very first entries, dating from 2004, you’ll find a ton of writing craft info written in Jim’s trademark hilariously snarky style. This was literally the first ‘proper’ writing advice I ever read when I decided to take my own work seriously. I owe Jim big time for helping me complete my first ever novel, back in 2012 when I was still trying to figure out how things worked.

Juliet McKenna has a wonderful blog, with plenty of writing-related posts to browse. If you’re looking for great pieces on writing about subjects such as gender, history, or mental health, this is definitely the place to visit.

Dan Koboldt runs an amazing series of weekly blog posts named Science in Sci-Fi, Fact in Fantasy, which he describes as “a blog series for authors and fans of speculative fiction”. Each week he’s joined by specialists in a number of fields – from biology to space travel – offering their expertise so that writers can get the details right in their work.

Latinxs in Kid Lit has a nice series called The Road to Publishing that focuses on the query/agent/editing side of things. Some great personal stories and information. (And it’s a very nice project that’s worth checking out!)

Weird Curvy Edges

A couple of evenings ago I was reading an online discussion – as you do on a Saturday night when you’re at home with kids, a dog, and a Harry Potter marathon on TV. However, different from many other debates that I nod along to and promptly forget, this particular discussion stuck in my brain.

In the forum thread, the poster asked, “How do you handle feelings of competition with other writers who are more successful/more prolific/working in the same genre as you?” The overwhelming majority of responses mentioned the incredible support writers give each other, and how one person’s success does not hinder another’s, but helps them along instead.

I admit to getting a little teary-eyed as I read the replies, but I’ll blame that on a particularly poignant scene in Prisoner of Azkaban, which happened to be on at the time.

I started writing novels almost exactly four years ago, in August 2012. At the time, I’d just signed up to a science fiction and fantasy forum with an active community of writers. That’s where I learned about the importance of feedback and found my first treasured beta readers (waves at Jo, Mouse and Abernovo). I moved to the USA and discovered a second, equally supportive family in the kid lit world through the SCBWI. I joined critique groups and went to my first writing conferences and conventions. I spread my wings and found a whole world of like-minded people who were willing to share, and to care.

Over the years, I’ve followed the journey of a number of writing friends who’ve published work. I have been thrilled for each and every one of them. I’ve bought books, tweeted praise and, when possible, written reviews. Tentative online connections have become firm friendships, and my own life and work has become all the richer for it.

The peer support I’ve seen out there in the cold, hard world of publishing is phenomenal. Writer friends get it: they’ve struggled with first drafts, endless revisions, and plot holes galore. They’ve bled ink, and woken up at 3am with a brilliant solution for chapter 10 which has to be written down immediately or will be forever lost. They can always be counted on to send virtual cake when needed.

Writer friends are priceless.

And now I have an upcoming book release of my own. I should be terrified (and I am, really), but I know that I’m not alone. I know I’m just one small piece of a much larger puzzle. And all us puzzle pieces, we’re not in competition. We complete each other – with our many odd curvy edges – and share our strength with one another.

So for all my writing and publishing friends, the ones I’ve met and the ones still to meet: thank you for being there, and thank you for being you. Weird curvy edges and all.

Write ’Em Up(dates)

True fact: once I wrote an entire novel to a 2-song soundtrack consisting entirely of Fall Out Boy’s Immortals and My Songs Know What You Did In the Dark (Light Em Up). There, aren’t you glad you know that now?

So what’s new or old on the writing front, soundtracks aside? I handed in the final pre-publisher’s-edits version of Heart Blade around a month ago. Sometime over summer I should be getting revision notes back from my editor, the lovely and very talented Teresa Edgerton. This is both exciting and terrifying. I’ve had lots of great peer beta readers and critique partners, but this will be my first professional edit. Gulp.

In the meantime, I have a short story to revise for a fantasy anthology that will be out at the end of the year with Heart Blade’s publisher Woodbridge Press. The anthology has a truly great line up of authors, and I’m thrilled to be in it. I also have a new novel I’m working on, a science fantasy YA. I’m coming up to the halfway point on this one, and hoping to get a first draft nailed down before things start to get real with Heart Blade.

In blogging news, I’m putting my Spotlight interview series temporarily on hold. But only because I’ve joined the sffworld.com team and will hopefully be doing lots of interviews for them instead. I’m really pleased about this, since I love their website, and am looking forward to working with the SFF World team.

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Writing perch during a quick June trip to visit family in Brazil.

 

One last snippet of writing news I forgot to share back in May: I won the April 300-word writing challenge on sffchronicles.com. This is really cool as there are so many talented writers on the Chrons, and competition is always fierce! The 300-word challenges are open to any speculative genre and run off a visual prompt. This time the prompt was a photo of a bird’s skeleton. Here’s my winning entry; it’s a bit dark and not very summery, but I hope you enjoy it.

  

Tiny Bones

I crouch down in the garden, poke them with a stick. Small things, wispy and fragile. “Just a bird,” they would say. “Leave it alone, Sarah. It’s just a dead bird.” 

It’s raining again. There’s been nothing but grey since the Weeping began. I haven’t seen the sun in over two years. I hate this rain, the feel and the smell of it. It trickles off the bird bones and sinks silently into the moss. 

The bones are truly minute. If I picked them up, I could cradle them in my hand.

I wanted to cradle Sam, too, but they wouldn’t let me. He was so small when he was taken. Not even a proper baby yet. He never felt any pain, they told me. But what do they know? What do they really know of tiny bones and hearts and souls? 

He was the fifth, this year alone. Since the Weeping, no child lives in this aging compound of ours. One by one, fading, failing. In this diseased world, we scream and rage, but still the silent killer strikes, deadly accurate, picking off our young ones one by one. 

We bury the bones, bury them deep in the hidden place so they can’t come back, not like Marion’s Ava who killed three people before we trapped her in blankets and ran her through the wood chipper.

Because when they come back, they’re not human. Not any more, not after the Weeping. 

But I don’t care. I want my Sam. I leave the bird’s tiny bones alone and make my way to the hidden place. I sink my fingers in the rain-damp soil. And then I begin to dig.

Book Cover Sunday: SFF Book Spines

*WARNING! PICTURE-HEAVY BLOG POST!*

(A follow-up to Book Cover Sunday: Fantasy Cover Art)

This week I got an urge to browse my local Barnes and Noble, and what better than use a blog post as an excuse?

As I wandered up and down the science fiction and fantasy aisle, it struck me that we – writers and readers – tend to focus a lot on the cover itself. However, since bookstore space is limited, only a few lucky books get displayed cover out. Most have to jostle for space with other tempting titles.

So what are the strategies for book spine design? Here are a few thoughts on the subject; please take with a huge grain of salt since I am not an cover artist, graphic designer, or marketing professional. And please feel free to add your own comments, too!

First of all, here’s a general view of one of the store’s shelving sections.

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Disregarding size differences in mass market, trade paperback, and hardback, I still found that my eye was immediately drawn to the solid blocks of color in this edition of Pierce Brown’s sci fi trilogy:

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Now, these may not be the prettiest book spines around, but wow are they ever effective. However, they give us nothing else to go on, once they’ve drawn the eye. If you hadn’t heard of Pierce Brown, maybe you’d pick one up. Or maybe your eye would then slide to the books next to them. Having a purely graphic spine with no artwork (besides the cryptic symbol in the middle) is always a gamble.

Also eye-catching are the fonts used for the titles on these Miles Cameron novels. But different from the Pierce Brown books, these spines give us a clue as to the content. We have swords, and knights. We know what sort of story to expect.

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If the author has a larger body of work, with plenty of titles displayed on the same shelf, their book spines can be a little more discreet. After all, what counts here are sheer numbers. From the same section (see first image), here are Jim Butcher’s Harry Dresden novels:

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Don’t they look nice all together? It’s eye-catching simply by means of bulk. Would one of these on its own work as effectively? I doubt it. This strategy is definitely one for prolific authors. Here are a couple of other examples, from Seanan McGuire and Charlaine Harris (oh, the pretty colors!).

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Okay, so maybe Charlaine’s aren’t that subtle. But they follow the same style: you’re supposed to collect the set. Now, don’t you want to see them all together on your shelf? I know I do!

Robin Hobb’s books are even more discreet. Here, the author’s name is the key attraction. But when you’re a well-loved writer like Hobb, with a tremendously loyal following, you can do precisely that. Your name is the key sales pitch, after all.

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Here are a couple of books by Joe Abercrombie that have gone for the ‘author name as banner’ approach:

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Now, these happen to have gorgeous covers, but the spine is minimalist almost to a fault. Your eye is drawn to the stark white author name. These really are all about Joe. Compare them to the two titles by Abercrombie in the next photo. Here, despite the enormous lettering, our attention is caught by the images behind. To be honest, I’m not sure why the font needs to be so big here, since all I want to do is look at the picture.

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I like the second ones a lot more than the first; I love the use of images on book spines. It’s a great intro to an author you may not be familiar with and I think that, particularly in cases where you might purchase only a couple of the author’s books (as opposed to a ‘collectible series’ like the Dresden Files), it works very well indeed. Take a look at these Steven Erikson titles, compared to the ones next to them. Aren’t they catchy? However interesting that font on the Jennifer Estep novels, the pictures on Erikson’s novels really jump out at you.

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Here are a few more Erikson titles. Yummy, right?

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This edition of Brent Weeks’ Night Angel trilogy goes for a cleaner, more minimalist use of images, using a graphic style and an emphasis on title over author name that is often seen in YA books:

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Compare Brent’s novels to some popular YA fantasy titles, and you’ll see what I mean. Here are Marissa Meyer’s Lunar Chronicles, and the Throne of Glass series by Sarah J. Maas.

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As I mentioned before, the author’s name is extremely discreet, with book title being the main draw along with the image. Christopher Paolini’s Inheritance Cycle takes this to an extreme:

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Of course, in Paolini’s case, he’s got the color going for him in terms of eye-popping catchiness. But hey, why stick to plain red, blue, and green when you can go all the way and adopt Gail Carriger’s style for Prudence? Yes, I’ll take some hot pink with my tea and crumpets. That’ll do nicely.

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When I set out for my little bookstore jaunt, I was sure I would find plenty of common threads; widespread strategies applied across the shelves. The truth is, book spines seem to come in an even more bewildering array than book covers. Every publisher wants their books to be the ones that jump out at you, and each one seems to have a different idea about how to do that. After all, a book spine is the author’s  business card, the first impression upon a prospective reader. And I’m sure that if I were to browse other genres outside SF/F I’d find new strategies, new conventions.

I know one thing for sure; I’m going to be paying a lot more attention to spine design from now on. And now excuse me, I’m off to play with my bookshelves. I have some spines to reorganize.

 

 

Book Cover Sunday: Fantasy Cover Art

I was browsing my to-read pile and ended up going for the new Kristell Ink anthology Fight Like a Girl, in part for the glorious cover. That got me thinking about cover art. Now, I’m not hugely influenced by book covers. I tend to go by synopsis and sample pages rather than looks. But I can’t deny that when a book sounds interesting AND has a gorgeous cover, it’s a huge bonus. I’ll pick up my favorites again and again, just to feast my eyes on the artwork and maybe reread a page or two.

I began pulling out books from my shelves that really appealed to me for one reason or another. Looking through the pile on my table, I realized that the covers seemed to fall into four distinct camps. Now, I’m no expert on cover art, or art at all for that matter. So feel free to disagree in the comments and add your own categories!

Category 1: The ‘teaser trailer’ cover.

This type of cover is big in children’s fiction, and indeed my first ever cover love was C.S. Lewis’ Narnia series, beautifully illustrated by Pauline Baynes (1970’s edition). The artwork gives us a sneak peek at the story, showing us a scene or a setting, and providing a taste of things to come.

Examples for this category include the John Rocco covers for Rick Riordan’s books. Rocco created all the US covers for Riordan’s middle grade and YA work, and in my opinion pulls off the ‘teaser trailer’ aspect very well, giving us enough of a hint at what will happen to get us interested.

Of course, these are covers aimed at younger readers. However, the Michael Whelan art for Brandon Sanderson’s Stormlight Archive does much the same for an older target audience. Look at the cover for The Way of Kings, below. Can’t you just picture the soaring music of the trailer as the camera pulls out to sweep the landscape? Don’t you just want to know more, immediately?

Sometimes a ‘teaser trailer’ cover doesn’t even need human figures. The Tim Byrne cover art for the Rojan Dizon series by Francis Knight is a particularly effective example. Once again, can’t you just imagine the camera swooping in towards the streets in this cover for Knight’s Fantasy Noir novel Last to Rise?

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Category 2: The ‘character hook’ cover.

This is probably one of the most prevalent cover types in fantasy. Hooded rogues, brooding kings, towering warriors. There’s a subtype for each and every subgenre. Some can be a little cliché, others find a way to make an impression. The difference between this category and the first? While the ‘teaser trailer’ cover tries to hook us with a promise of a story, the character cover centers it all on the main protagonist(s). It wants us to immediately bond with them, anchoring our curiosity on the figure the covers portray and encouraging us to discover their story.

The cover for Swords and Scoundrels by Julia Knight is pretty typical of the category, although we have two characters in this case, and not the more usual one. Illustrated by Gene Mollica and designed by Wendy Chan, what sets a cover of this sort above others is the beautiful artwork. The characters must be appealing enough that we say, “Why yes, I will enter your domain and hear your story, dear swashbuckling people on the cover!” It’s a simple set-up, but it works.

Teresa Edgerton’s Mask and Dagger duology does something a little different. In both Goblin Moon and Hobgoblin Night, Sarah J. Swainger’s cover art opts for a dark outline, reminiscent of the silhouette portraits popular in the mid-to-late 18th century, a particularly fitting nod to Edgerton’s Victorian-inspired world. The effect is clean, crisp, but still remains within the domain of ‘character hook’ covers.

A modern take on the theme was used effectively in the US covers for Myke Cole’s new military fantasy trilogy. Illustrated by Larry Rostant and designed by Diana Kolsky, the covers for Gemini Cell and Javelin Rain pulse with energy. The enigmatic character portrayal and the vibrancy of the artwork draw us in and promises a thrilling ride.

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Category 3: The ‘one Ring to bind them’ cover.

In yet another version of the ‘teaser trailer’ cover, this category takes an inanimate object and uses it as a story hook. A mysterious symbol might promise a tale of magic. A sword, the allure of violent and heroic deeds. You get the idea. Personally, I think the ‘one Ring’ covers can be particularly effective for a series, adding a new element for each book. This form of cover art treads the line between teaser hook and my last category, the ‘graphic glory’ cover.

The Larry Rostant/David Stevenson covers for George R.R. Martin’s A Song of Ice and Fire are a good example. Simple, clean, and to the point, they each prominently feature one item relating to events in the book, using background color as an important tool to give each book a separate identity within the common thread. The gloriously red art for A Feast for Crows, for instance, is repeated on the spine, a clever ploy for on-shelf prettiness.

The covers for the Seven Realms series by Cinda Williams Chima go a step further. The original four books, as well as the newly released Flamecaster, first in a new series set many years later, join together ‘significant object’ with ‘teaser trailer’ backgrounds. Sneaky! And also very effective. Now that you’ve seen it, aren’t you just dying to know more about the mysterious amulet thing on the cover? And how does it fit in with the city behind? Art by Sasha Vinogradova and design by Erin Fitzsimmons.

The original UK cover for Joe Abercrombie’s Best Served Cold takes the ‘one Ring’ concept and runs with it, far, and fast, and wide. We have a map! And a sword! There are coins, and blood splatters! It took a whole team to create, according to Joe’s blog. It’s pretty amazing, to tell the truth, and I really wish it were the cover of the version on my Kindle. It’s not, unfortunately, so I had to resort to online drooling. But really, there are so many different objects on this cover that it’s a whole micro-story in itself. A sort of connect-the-dots intro to the story inside.

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Category 4: The ‘graphic glory’ cover.

This category of book cover is deliciously graphic, with a lean, clean beauty of a concept. It’s less about hooking the reader with the promise of a story, and more about wowing them with stunning artwork that pretty much stands alone without the novel inside. If I were to frame and display any of the books in my personal library, it would probably be the ones with this sort of cover.

I originally bought A Darker Shade of Magic, by V.E. Schwab, in e-version. But I eventually went out and bought a physical copy, too. I wanted it on my shelf; I needed it on my shelf. Although this cover does refer to the novel, the appeal isn’t in the story hook but in the sheer prettiness of Will Staehle’s artwork.

Tom Pollock’s Skyscraper Throne trilogy is another personal favorite, both in terms of covers and content. The UK cover art by Ghost is discreet, minimalist, and lovely. Even if I had no idea what was inside The City’s Son and its sequels, I’d probably peek just because I like the cover so much.

To finish where I started, Kristell Ink’s Fight Like a Girl anthology fits neatly into the ‘graphic glory’ category. The paper doll sweetness of Sarah Anne Langton’s cover art is too cute for words, and fits the book concept admirably: after all, in an anthology each author mounts their own unique character, and has their own distinct take on the theme. And you can dive deeper, taking the idea of paper dolls and examining the roles society hands out to women. Charming and clever!

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In the name of ‘blogging’, I’ve just spent a fun couple of hours on a rainy afternoon looking through my physical and virtual shelves. How about taking a look at the books you own? Which are the cover styles that appeal to you? And why?

(See also Book Cover Sunday: SFF Book Spine)

Publishing deal for Heart Blade

Yesterday was one big, smiley, happy day from start to end. It started out with a contract for breakfast and ended with an official press release from my publisher. My book publisher. I’m over the moon that I can finally talk about Heart Blade, the first in my Blade Hunt Chronicles series, to be published by Woodbridge Press.

I finished writing Heart Blade just over a year ago, and Nathan Hystad was one of my lovely beta readers at the time. This year he launched Woodbridge Press, which just came out with a deliciously spooky horror anthology, The Haunting of Lake Manor Hotel. Woodbridge has two more anthologies planned for this year, and oh, hey, I’m in one of them (it has a fabulous line-up of authors which Nathan should be announcing soon).

When Nathan approached me and made an offer for Heart Blade, I was really excited. Yes, Woodbridge is a brand new press, but I have absolute faith in Nathan and his vision, and I’m looking forward to working with him and his team to bring the Blade Hunt world out from the dusty confines of my virtual filing cabinet and into the light of the day.

Blade Hunt is an urban fantasy series that straddles the line between YA and adult. Book 1, Heart Blade, is set right here in my home state of Connecticut, and introduces us to the Chronicles lore and some of the key players of the Court of the Covenant.

Over the next months, as all the necessary pieces of the publishing jigsaw come together – such as edits and copyedits and cover art – I’ll be sharing some of my worldbuilding extras with you all. I’ll also post fun bits and pieces over on bladehunt.tumblr.com.

But for now I’ll let my publisher do the talking.

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Abendau’s Journey: Interview with Jo Zebedee

Northern Irish science fiction and fantasy author Jo Zebedee is not only an incredible writer, but a highly motivated one too, juggling numerous projects with a busy home and work life. Jo has had several short stories accepted by magazines and anthologies (some of them upcoming throughout this year), and her 2015 self-published post-alien invasion thriller, Inish Carraig, has been doing very well indeed and is garnering some fantastic reviews. Her dark fantasy novel, Waters and the Wild, is due out in 2017 with Inspired Quill.

But the reason that I’ve asked Jo to join me here is to celebrate the launch of the second volume in her space opera The Inheritance Trilogy, Sunset Over Abendau. Abendau’s universe is a special place for Jo; it’s one she’s been dreaming about since her teenage years. The first book in the series, Abendaus Heir, was published in 2015 by Tickety Boo Press. The story of a rebellion led against an evil Empress by her own son, Kare, Abendau dives deep into questions that speculative fiction doesn’t usually bother to ask: what is it really like to be the Chosen One? What are the pressures and consequences of taking on this burden?

Abendaus Heir, despite being a fast-paced space adventure, was often dark, which was one of the things I enjoyed about it. Jo wasn’t afraid to ask those tough questions, or take a good, hard look at the things we’d often rather sweep under the mat. Torture, both mental and physical. Post-traumatic stress. And how far a person can really go before they begin to snap. Sunset Over Abendau takes us a step further, to a place ten years on in the story and the inevitable fallout from the first novel. For a deeper breakdown of what to expect, check out Jo’s own post on the subject.

Jo often blogs candidly about the writing process and the ups and downs of the publishing world (find her posts on jozebwrites.blogspot.com). So I’m going to take this opportunity to peek a little closer into nitty-gritty of getting a new book out.

Juliana: Jo, congratulations on the launch of Sunset Over Abendau! How does it feel to see yet another piece of Kare’s journey set in place?

Jo: It feels really good. To get to the next stage of all my characters’ lives was fun. Also, my third book release (I have a standalone as well) is quite a big one, I feel – when people talk about writers getting established, they often say the third book is a good sign of that being the case. Certainly I feel more confident about the processes at this stage.

Juliana: Accepting an offer for a trilogy means committing to working with the same publishing house for a long stretch of time. How did you first feel when taking this leap? How about now, with Book 2 out and Book 3 approaching fast? 

Jo: I felt confident taking the leap in many ways, and less so in others. I knew my editor would be Teresa Edgerton who I’d worked with on a developmental basis before and had a lot of trust in. So, that fear – of not being able to work with the editor for three books – was allayed.

But my publisher, Tickety Boo Press, were very new and going with any new publisher is a risk. My contract was drawn up when I was agented, however, so I was happy the clauses were in place to protect me. So far, so good – I’m happy with my covers, I get good communication and my editing has been excellent.

I think that’s important for any writer, by the way, that they do have confidence in their contract – it protects both them and the publisher and makes for a better working relationship. 

Juliana: You had a full year between the launch of the first and second in the trilogy. However the third, Abendau’s Legacy, will be out later this year. How has it been coping with the tighter editing window? 

Jo: Well, I did manage to plonk a self published book between the two Abendau’s, so the two books a year model is established. But book three needs a little more work (it is finished but the polish depended on the edit of Sunset as the two are closely linked) so that will keep me busy over the summer.

Also – I’m promoting the books now. I have a lot of writing commitments on that I didn’t have last year. But I’m still working as writing doesn’t pay a wage. Which means producing new stuff is slower, and there may be more of a gap between books in the future. If I settled into the 9 months to a year model, I’d be quite happy and I think that’s doable.

Juliana: Following on from the last question, from your experience with Tickety Boo Press what sort of editorial support should a new author expect from their publisher? 

Jo: Editorial support is really important and something I think should be discussed at the contracting stage – expectations, who it will be with and, if possible, the vision for the book. At the very least, a story-editor and copy-editor should look at the script. A proofreader would be an additional tier, but many publishers now run proofing into the copy edit.

I think the relationship is important – I have to trust my editor. If not, the book could be worsened for it (not a problem I’ve had with Abendau but I had more difficulties with Inish Carraig and some of the direction I was advised to take it – although not by its final editor.) But I also need to have enough confidence to stand over things I believe strongly in and feel I can negotiate on them (I usually lose, though.)

Juliana: How many versions of the trilogy have you written, both before and after editorial input? 

Jo: Ha! I’m renowned for this on some forums… For Abendau’s Heir I did something like 18 re-writes, mostly substantive. I once lopped 70,000 words off the start – losing most of the Ealyn point of view in the process – to reshape it.

I have improved! Sunset will have had about five writes and Legacy the same. That’s usually first draft – writing group feed back – second draft – beta feedback – third draft – editorial – fourth draft – high-end edit – fifth draft, the polish.

On the plus side I do have the makings of a nice prequel already written…. 🙂

Juliana: Could you lead us through the basic steps to publication, from acceptance of submission to holding the finished book in your hand? 

Jo: Normally the cover is in place before the edits, so that’s the first stage. I then like to have a last check over the manuscript before forwarding for editorial.

I get a first edit back, consisting of two documents: the manuscript with notes and, more importantly, a document with overview comments in it. That’s my first read through, and it usually starts my cogs whirring. Then I address the full mss.

I work from the beginning to end. I’m a quick editor and rewriter, and it usually takes me 4-6 weeks, depending on the amount to do. If I have any scenes I’m desperately struggling with, I’ll run those past my writing group.

Once finished, I send it back to my editor with the changes highlighted. I hear back a couple of weeks later and that feedback normally looks at chapters or scenes that are specifically needing work. I amend those and send back and forth until my editor is happy and I’m begging not to have to look at that scene again, and then it gets forwarded for the copy edit from Sam Primeau.

The mss comes back from copy editing with changes marked, and usually a few comments seeking clarification, all of which I review before accepting the mss. And then it’s over to my publisher for formatting and release, and out of my hands.

Of course, in here there are things like Advanced Review Copies being sent out, and cover quotes sourced. There’s more to it than it looks!

Juliana: I know a lot of writers worry about their book covers, and whether they’ll love or hate them. Did you have any sort of control over your own cover art?

Jo: I don’t have control per se – which is good as I’m not a cover designer! – but I do get input. Normally I get to put in an idea of what I’d like – with the Abendau covers that has been around the central colours recently – and get to see an early mock up. Gary from Tickety Boo does the covers and I think there is a distinct style for the trilogy with a nice space opera feel. They’ll look good on the shelf together!

Juliana: A little bird (okay, Facebook and Twitter) told me that Abendaus Heir is in process of being recorded as an audio book. Have you had any involvement in this process? What’s it like to hear your words out loud? 

Jo: I haven’t been involved, which is fine, but I have heard the opening section. I’m really looking forward to hearing the finished product – Ravenwood audio are doing a great job.

It’s odd listening to it, but enjoyable. I’m well aware my names can be hard to pronounce so am easy going about that sort of thing, and am happy to enjoy the outcome rather that critique it.

Juliana: You’ve tried different paths, traditional and self-publishing, and are doing very well on both. With more and more writers opting for the apparent ‘ease’ of self-publishing, what can traditional publishing still offer the author? 

Jo: I think this concept that self publishing is easy is misleading. To do it well is a ton of work (and I try not to put anything out under my name that is shoddy) and you’re doing that work on your own. For a book or two I think I could manage but, as more come out and I’m trying to manage promotion and offer periods etc etc, I think it would eat into my writing time too much.

For instance, today a reader contacted me to let me know the paragraph indents are missing in my self-published book. Yet they’re there in the uploaded version and on my kindle app, plus in the sample. So it’s not a formatting issue. Which means asking Amazon and all that rigmarole, and there’s an hour chasing all that when I could have been writing.

So what does Trad offer me? (And I’m continuing to make that choice) – time to write. Writing is where the income will come from. If I don’t have time to produce more, things become unviable. Plus, it’s the bit I love and want to do more of. So, for me, the lower margin/royalty is a trade-off to have the time I need to go onwards and to write the stories that are eating at me to get out.

Having said that, I’ve enjoyed the self publishing and would definitely do it again with the right product.

Juliana: Any words of advice for new authors starting out on the submission path, or perhaps contemplating their first publishing deal?

Jo: None of the journey – the rejections, the knocks – are personal. Try to be thick skinned, if you can. And enjoy it – we worry so much about every sales and reviews and acceptances and whatever it is you seek we don’t leave enough time to savour everything. 

Juliana: Jo, thank you very much for sharing Abendau’s journey to publication. I’m looking forward to reading the new book and, of course, the conclusion Abendau’s Legacy later on this year. 

You can find Abendau’s Heir and Sunset Over Abendau at the Tickety Boo Press shop and on Amazon, both US and UK. For those in Northern Ireland, the books will both be available at Easons and Blackwell’s

Boskone 53 Round-up

Boskone 53, February 19-21 2016

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Boskone is a long-running New England Science Fiction and Fantasy convention that skews more to the literary side, even though it also has events centered on movies, board gaming, etc. Last year was my first time at Boskone, and I was so smitten I’d bought this year’s membership before the con even ended. Boskone is big enough to bring in great authors, and small enough to be a friendly sort of place. To me, newbie convention-goer that I am, it’s perfect.

Here’s a very brief overview of some of the panels I attended, just in case you were wondering about what goes on at event like this. I’m not including all panels or kaffeklatsches, or even mentioning readings; this is more of a taster. And by the way, sometimes the best things are the ones you least expect. The pirate panel was a personal favorite! So find a convention near you, and maybe take a chance on something unexpected. It’s worth it.

(Also, next year’s Guest of Honor is Brandon Sanderson, so if my rambling notes don’t entice you to take a look at Boskone, maybe that will!)

*The following information is a summary of notes I took during panels. They represent only a portion of what was shared by panelists, and are subject to my own interpretation while writing them down at the event.*

Friday:

Things I wish a pro had told me

Peader Ó Guillin, Walter Jon Williams, Christopher Golden, Charles Stross

Writing a first draft is like walking a tightrope. If you stop halfway to look back, you’ll get frozen with fear.

Writing a full-length novel is like marriage or a relationship – initially there’s that first flush of love, but then eventually you have to settle into the relationship to figure out where it is going. Also, you have to find a way to make the non-exciting bits exciting to write; if you’re not excited to write them, no one will be excited to read them.

After the 1st book, books often sell on outline and first chapters. Sometimes the sale takes so long you’ve cooled on the idea and have to recover the spark.

Kaffeeklatsche with Neil Clarke

Clarkesworld believes very firmly in open slush submission. They have only commissioned stories on rare occasions, for anniversary editions, and even then from regular contributors. The magazine does have ‘regulars’, but they submit through the slush pile like everyone else.

The magazine has gained an industry rep for publishing things that push the boundaries in style and subject matter. Magazines tend to be more cutting edge; they can afford to take a risk on a story. A novel can’t. If one story gets bad feedback, it quickly gets buried/forgotten by the next issue. A novel that tanks can seriously hurt the publisher.

Both magazines and writers need to treat writing as business. They need to be able to thrive, not survive.

Saturday:

Young Love and First Kiss Fiction

Darlene Marshall, Esther Friesner, Django Wexler, James Patrick Kelly, Michael Stearns

Why does first love endure so much in fiction?

A lot of these books are a roadmap. When you’re a preteen or teen, the grown-up world is all around you but you don’t necessarily understand it, or how to get from point A to point B.

First love/kiss is a naturally dramatic device you can include in a plot. Having that first love/kiss brings an intensity that adult fiction doesn’t allow. Part of the attraction for adults reading YA is recapturing the feeling that anything is possible. That life is a fresh page. These novels bring this freshness; romance without the emotional baggage of failed relationships and a divorce.

But there are differences between young protagonists written for adults (Ender’s Game) and for teens: intensity of feeling. And YA doesn’t need a happy ending, but it does need a dramatic ending.

Branding and Social Media

Jeanne Cavelos, Melanie Meadors, Jordan Hamessley, Laurie Mann, Wesley Chu

The main thing about social media is it can’t just be about you. Social media is there to build community. Fans want to know they have something in common with you.

What are you offering that’s distinct and unique? That’s your brand. As an author, you want to prove yourself an expert: on yourself, on your field… Focus on yourself as a piece of a bigger picture and where you fit in. Create a professional persona for yourself. What you tweet or share on social media is only a fraction of who you are, but it’s your persona. What makes you distinct will attract people.

Sell yourself, don’t sell your books. Nothing turns off readers and buyers more than ‘buy my book’. If someone likes what you have to say, they’ll gravitate toward your book.

Talking about writing is interesting, and other writers will follow you for that, but you want readers to follow you, too. Find other things to talk about to build connections.

Tailor your social media accounts. You don’t have to feel that every platform needs you in every way. Pick the one(s) that feels best for you. Don’t do what you don’t want to do. For instance, don’t blog if it’s not your thing. Do what you’re good at. Only have accounts where you’re active. And it’s also important to know where your target audience hangs out.

Part of branding is creating a consistent look and feel across all your platforms. Publishers will give you your font, your art, etc. to use across your platforms, and you can use that to make postcards, bookmarks etc.

Be careful with negativity. Have the discourse – it’s important – but be aware. And really own it, if you’re going to be mad about something or someone. Anything that happens on the internet lasts a long time. You don’t know who you’re going to be working with down the line. Be careful with your opinions. You never know what’s going to go viral. Something you think everyone will like gets ignored, and then a throwaway statement you don’t necessarily want repeated goes viral.

It’s a Pirate’s Life for Me

Edie Stern, Leigh Perry, Darlene Marshall

People have always been fascinated by pirates. Transgression. Also, people who left merchant ships for pirate ships were stepping up in life. Pirates ate better, were paid better, and got disability pay. Also, they had a democracy of sorts. They often voted on who would be captain. Crews were integrated.

Life expectancy on merchant ships was horrible. To free room for cargo, living quarters were cramped, and food and supplies (for bad weather, for instance) were cut back on. There were rarely doctors aboard. A sailor who became disabled was simply abandoned on shore. So pirate life was much better.

People more likely to be taken captive by pirates: carpenters and surgeons.

The difference between pirate and privateer was a piece of paper*. Privateers were legitimate, pirates were not. Privateers had been given permission by a government to operate, often functioning as a navy of sorts. There are two sides to the coin: pirate/patriot. It all depends on who’s doing the name-calling.

* The ‘Issuance of Letters of Marque and Reprisal’ was something a legitimate government could do at the time.

Robert Louis Stevenson invented a lot of the pirate myths and tropes that still endure. In real life, there was no walking the plank, and one-handed pirates didn’t have hooks, just wooden replacements. The tattoos, however, were real and used for identification. The gold jewelry was real too, a way of carrying your wealth with you so that if you died you had enough on you for a decent burial.

The worst insult in the Royal and early American navy was to call someone a marine. The original marines were in charge of onboard discipline so sailors hated them. They were the officers’ line of defense, so this antipathy was encouraged by the officers to keep the marines from siding with the sailors against them.

Why the parrot? A good-sized parrot on your shoulder gave you height leverage. A well-trained parrot could see above a crowd and give you advance warning of enemies.

Fight vs. Flight

Wesley Chu, Flourish Klink, Errick Nunnally, Tom Easton.

“An action scene is a conversation with fists” (Wesley Chu). At the end of the day, the scene should have a result, a character placement, an impact on the characters. In movies, fights are often fillers. Fillers don’t work in writing. So when writing a scene you want to think about what it leads to – the result, where the characters are, what they’re feeling.

Writing: you’re either looking at the scene broadly or going for the close look and details. Only get into the specifics if you know what you’re talking about. Long, detailed fight scenes are extraordinarily boring. Unless you’re using it to show damage, mental fatigue, etc. it’s just filler.

Things happen a lot faster in fight than you think, and are over a lot faster too. And then you have to think about cost of combat: when there is contact between two things there is damage.

Don’t underestimate flight. Indiana Jones, for instant, is a character who doesn’t mind turning and running. A lot of great characters aren’t fighters. Dick Francis’ characters are often on the receiving end, not the dealing out end.

However, the flight option can be tricky when writing female protagonists. Because even though it’s the logical option, even for a trained fighter, since women are often outside their weight class, it can send the wrong message in fiction. But the truth is, even for the trained fighter, aggression and size will win over skill anytime. In real life, any woman knows that the first thing is to run the heck away.

Knife fights: The thing about knife fights/disarms is that you’re going to get cut. In real life, when you look at emergency rooms, you’re going to see that people with knife injuries die a lot. “A knife fight is not a casual thing under any circumstance” (Flourish Klink). People underestimate knives in fantasy.

Likewise, sword fights are short, unless you’re well-armored. But is realism the best thing for entertainment? Probably not. No one is going to complain about embellishment. However, fear of death should be a key motivator. Think about tunnel vision in combat. There’s a huge difference between a controlled environment like a lesson, and something that’s actually happening.

You also have to consider your setting. How does the cold affect your weapons? Or being punched? How does having wet clothes affect your movement?

If there’s no tension, it’s not action, it’s just movement. A definition of an action scene is that there must be tension.

Sunday:

Dealing with Rejection

James Patrick Kelly, Barry Goldblatt, Bob Kuhn, Kenneth Schneyer, Darlene Marshall.

The rejection is not you, personally. If the same kind of rejection is coming over and over again, it might be time to have a good hard look at your submission. But don’t hate yourself, or the rejection.

Make a submission list. If you get a rejection, send it right back out to the next on the list. Don’t let a story sit and gather self-doubt.

“Do your due diligence before you start sending things out” (Darlene Marshall). Research what people want before submitting. Sometimes what you’ve got is really good. It’s fine the way it is. But it may not fit the current market. So you have to understand yourself AND you have to understand the market.

“When you swim in the sea of rejection, just let it roll off your back” (Jim Kelly)

Why Anthologies?

Bob Devney, Tom Easton, Esther Friesner, Leigh Perry, Erin Underwood. 

Anthology comes from the Greek for a collection of flowers, a garland. For a long time it meant a poetry collection.

Anthologies all pay in different ways. Sometimes it’s a flat fee. Sometimes it’s an advance and royalties.

Anthologies keep short fiction alive. Short stories do a job of invigorating fiction as a whole.

Story placement: the importance of a strong leading story, a strong finale, and a strong middle. If the last story can be a wrap-up one that embodies what the anthology was about, even better. Also, don’t follow a banjo act with another banjo act. Space out similar style or genre stories. There has to be a flow between stories, or else readers who read in order will complain it feels choppy.

2016-02-19 12.00.01

Spotlight on SFF Gatherings with Alex Davis, Joanne Hall, and Steven Poore

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Reading is a solitary pastime, yet social gatherings lie at the heart of many reading and writing communities. From small get-togethers, such as book clubs and writer’s groups, to large conventions with thousands of attendees, there is something for everyone. These gatherings serve as meeting places for like-minded enthusiasts to discuss everything from the newest book releases to the trials and tribulations of the publishing world.

Susan Boulton, author of the Gaslight fantasy Oracle, went to her first SFF convention back in 2006. “I went (to Eastercon UK) because a fellow writer had persuaded me to go, saying it would give me a feel for the genre and the publishing business as a whole. I went, enjoyed it in some ways, but in others I found it very overwhelming and intimidating. I decided not to go to another. I then received an email from someone I had met there, saying they had enjoyed meeting me and looked forward to seeing me again at another convention. So I thought I would book to go just for the day to the British FantasyCon.

“I was surprised at how many people, who I had met at Eastercon, remembered me, and introduced me to others. I came to realise that, yes, the business side of conventions is interesting, helping you understand publishing and make contacts, but far more important is the friendships that you make. You share the pleasure of seeing the various guests of Honour, panels and events, but you also enjoy the days and nights spent talking not only about the genre, but everything and anything.”

Sometimes genre gatherings can serve as work inspiration. Librarian Tina Panik, who organizes a yearly local convention besides fandom meet-ups, regularly attends the New York Comic Con fishing for ideas she can use in her job. Tina, the reference and adult services manager for her library, believes that, “The best way to bring the stories, characters, and images from the comic and graphic novel world to life is to attend a con. Between the people, the cosplay, and the guest speakers, your imagination will ignite with ideas. The crowds are friendly, the experts are willing to share, and the merchandise is fantastic.”

There are certainly plenty of reasons to attend genre get-togethers. But what happens on the other side, the backstage, so to speak? What’s it like organizing an event, bringing together readers and authors, fans and trade professionals? I’ve invited three guests to tell us a little about what goes into running SFF meet-ups and conventions.

Writer and editor Alex Davis is the author of The Last War (Tickety Boo Press, 2015), the first novel in his science fiction Noukari Trilogy, besides several short stories. Alex also runs a local press, Boo Books, and organizes a twice-yearly convention in Derby. Edge-Lit – and it’s brand new winter offshoot Sledge-Lit – includes ‘panels, readings, workshops, book launches and plenty more besides’ in a one day event that aims to be friendly and welcoming. Alex is also chairing the 2016 edition of the UK national FantasyCon, organized by the British Fantasy Society.

Joanne Hall, Acquisitions Editor for Kristell Ink, is the author of numerous short stories and novels, including The Art of Forgetting duology (Kristell Ink, 2013-2014) and Spark and Carousel (Kristell Ink, 2015). Joanne has chaired Bristol’s only science fiction and fantasy convention – BristolCon – for the past six years, and also runs the Bristol Fantasy and SF Society Facebook page. The one-day BristolCon has panels, workshops, kaffeklatsches, an art show and a dealer’s section, and aims to be a ‘fun, friendly and informative addition to the UK’s convention calendar’.

Steven Poore is the author of The Heir to the North (Kristell Ink, 2015), the first in his Malessar’s Curse duology (the sequel, The High King’s Vengeance, is due in late 2016), besides the ongoing science fiction series The Empire Dance and several short stories. Steven organizes the Sheffield Fantasy and Science Fiction Social Club (SFSF Social), a semi-regular gathering in an informal setting that brings genre enthusiasts together for author readings and Q&A’s, giveaways, and plenty of good conversation.

Juliana: What were some of the first SFF events you attended, that sparked off your interest for this sort of gathering?

Alex: Most of my initial engagement in writing events was with book festivals and writing groups, so that was all kinds of different genres. But I was always hugely interested and a big fan of genre fiction, so that was always an area I wanted to explore – and I think it’s fair to say genre fiction doesn’t always get a fair crack of the whip where it comes to literature festivals. So when all my volunteering work led me to a paid role as Literature Development Officer, I was really keen to get something going with a real literary feel but looking at genre fiction, which is where Alt.Fiction came from back in 2005. My first convention-going experience was EasterCon in Glasgow, which helped to crystallise a lot of what I really wanted from my event – a focus on writing, pure and simple, without any of the added elements that come at a multimedia convention.

Steven: Before Alex Bardy started up the York Pubmeets, there wasn’t anything happening up here apart from EdgeLit and the usual annual conventions. Angry Robot had brought five of their authors to Sheffield once, for an afternoon, but that really was it. Alex told me about his idea and convinced me to come up to York, with a couple of friends, to attend the first Pubmeet, where David Tallerman and Janine Ashbless were reading. Actually, I didn’t need all that much convincing.

Joanne: The first big SFF event I remember attending was FantasyCon in Nottingham. I’m not sure what year it was but Neil Gaiman and Clive Barker were there. I don’t think I got as much out of it as I could – I hadn’t been to a convention before and I didn’t really know anyone and I was very shy. After that I went to a few commercial events, and for a few years I attended MicroCon, which is the long running convention organised by Exeter University’s SF society, which helped me get over some of my shyness and made me want to attend bigger conventions again!

Juliana: How did you move from simply attending to helping organize SFF gatherings? 

Alex: My role at Derby City Council gave me the freedom to run a host of different events, and I was a bit nervous to pitch Alt.Fiction as an event to my boss at the time. But luckily enough they went for it and I even managed to get some Arts Council funding, which was a huge help. Immediately I had a feel there was a hugely welcoming community there, and people were amazingly willing to help and support me in getting something new off the ground. Having run the one event I found myself getting a lot more active, becoming much more aware of the many conventions going on and attending things like FantasyCon and NewCon.

Joanne: It was a combination of beer and being broke…

I was in the pub with my friend Colin, and we were chatting about what a shame it was a city like Bristol, which has a thriving SFF scene, didn’t have its own convention, and what a financial burden it was to have to travel to London or Nottingham or Brighton for the big three-day cons. We decided what we wanted was a local, affordable convention, and as the conversation became more… lubricated… it sounded like a better and better idea to organise one ourselves. So we did. The first BristolCon ran for an afternoon and had around sixty attendees, but everyone had such a great time that we immediately decided that we were going to do another one.

Steven: I blame Alex. It’s all his fault. 🙂 After the first Pubmeet I talked to him at Fantasycon and said “If only there was something like this in Sheffield.” He vanished, then came back and said, “Adrian Tchaikovsky will do a reading for you.” And suddenly I was an event organiser.

Juliana: Could you tell us a little about the events you’re currently involved in?

Joanne: I’m currently the chair of BristolCon – we have a committee of about 10-12 people who organise it and my job is to keep them on track and to occasionally keep the peace between them! BristolCon is a one-day convention that takes place in Bristol every October; this years’ event takes place on October 29th and our Guests of Honour are Ken Macleod and Sarah Pinborough, while our Artist GOH is Fangorn. You can find all kinds of information about it at www.bristolcon.org. It’s great fun, it’s a really friendly event, and very relaxed.

Steven: Mainly it’s the Sheffield Fantasy & Science Fiction Social, which we abbreviate to SFSF (“We” being myself and fellow fans Kathryn, Darren and Sara). We’ve hosted authors from as far afield as Chesterfield and San Francisco! We’ve found that the structure of readings & Q&A sessions, followed by giveaways, is one that really does work and doesn’t need much fiddling with. SRFC [Super Relaxed Fantasy Club] have really set the bar for us in that respect. We have started to change it up a little as we’ve become more confident – last time we hosted an Ask The Agent session with Amanda Rutter, and our next Social will feature Adele Wearing talking about the award-winning Fox Spirit Books.

Alex: I’ve got two main events on the go at the moment – in July I’m running the fifth Edge-Lit event, which takes place at QUAD in Derby on the 16th July. We had a really big year last year with about 250 people attending, so we’re looking forward to expanding on that while keeping the friendly and welcoming vibe which has made the event so popular over the years.

This year I’m also chairing the British Fantasy Convention, FantasyCon, which will be taking place in Scarborough from the 23rd-25th September – the hotel is right by the beach, so we’ve dubbed it FantasyCon By The Sea! We’re expecting around 500 people for that, potentially more, so it’s definitely a big undertaking but hugely exciting. We’ve already announced a couple of great Guests of Honour, and have plenty more goodies up our sleeves yet!

You can check out those gigs at www.derbyquad.co.uk and Fantasyconbythesea.com respectively. 

Juliana: What are the biggest challenges in putting together an event of this sort?

Joanne: I think the first big challenge is finding a suitable venue – one that’s accessible and affordable, with good transport links and the right sort of layout to run panels and workshops and provide social space. Then you need a good team of people – no one can run a convention without help, but organising a team of unpaid volunteers brings its own challenges. Everyone who is involved in BristolCon is there because they want to support the con, but they don’t always agree on the best way to go about it!

Alex: For me any event is made up of a certain number of processes – there’s a lot of logistics and a lot of ins and outs, and things can live and die on what look like small details. The one thing that’s always difficult is programming, connecting with the right authors and speakers and getting the right kind of balance in terms of panels, workshops and other activities. You need to have things that are insightful but also enjoyable. Guests of Honour are also a unique challenge, as high-profile and bestselling authors tend to get booked up early. 

Steven: Getting the word out to people. This is the frustrating part, and the nerve-wracking part, for me. There must be so many people in South Yorkshire who read SFF, but they don’t know the Socials are there. That means you get folks on the city council who think there isn’t a demand, so they don’t want to know when you’ve got something to offer them and so on… I always worry that nobody’s going to turn up. For someone who has an on-off relationship with crowds, that’s a weird feeling.

Juliana: And what do you find are the biggest rewards? What is it that keeps you going? 

Steven: Meeting new people who are just as enthusiastic as I am about the genre – that’s the big one. And when you hear feedback about the events, that makes it all worthwhile.

Alex: Basically it’s being there on the day, seeing it happen and seeing people enjoying themselves and hopefully being inspired by the event! The whole thing has no life other than on paper for the better part of a year, and to see all of that come together over the matter of a few days is just phenomenal. It’s exciting also to see an event grow and expand – seeing the comments on social media post-event gives you a nice warm glow!

Joanne: The cake (anyone who has been to BristolCon knows about the cake…)

Seriously, the biggest reward is seeing everyone have a good time, seeing people really fired up with enthusiasm for this thing you’ve organised. For me one of the most brilliant things has been watching people who came to BristolCon as novice or unpublished writers go on to write books, sign deals, have great success and come back as panellists. I like to think that the things they gained from attending BristolCon helped them on that path. A big part of our remit is to encourage emerging local talent, with both BristolCon and our Fringe events, and when we achieve that it’s a great feeling.

Juliana: The baby steps question! For anyone interested in starting up some sort of SFF meet-up or event in their area, what tips can you share?

Joanne: I wouldn’t suggest they throw themselves straight into con-running – BristolCon grew from an existing SFF group in the city. But if anyone out there wants to start an SFF group, pub meets or reading nights, I’d say go for it. It doesn’t take as much organisation as you might think. You just need a room or space in a friendly local pub or community centre (and I’d like to give a shout out to The Shakespeare Tavern on Prince Street which is the SFF pub-hub where we have all our pub nights, Fringe Readings and BristolCon committee meetings), and some like-minded people. If you’re doing readings you will also need some kind of portable PA system if your pub doesn’t have one.

We do all our shout-outs and interaction via social media, either on Facebook (The Bristol Fantasy and SF Society) or Twitter (@hierath77).

Steven: Don’t be afraid to ask. Authors want an audience. Even if they have to decline first time around, if you’re polite and professional (hopefully I’m getting there!) they’ll remember you’re there. And be realistic about what you can achieve – don’t try to run a whole con on your first date! And remember that everybody wants an event to succeed and be fun.

Alex: For me there are two things you need to do before starting – find a venue and have a budget that works. If you don’t have those two, then you don’t have any event. Look around for the right place, somewhere you want to work with, somewhere that gets what you’re about. Then make sure you have a few quid to get things rolling – you can often sell tickets, depending what kind of event it is – but you’ll probably need some cash for authors, venue costs, marketing… also don’t be shy to have a word with some other event organisers, most are very happy to help and offer advice! 

Juliana: If you were given an unlimited event-going budget, what would be on your wish list of cons and gatherings? 

Alex: Being as I live in the UK, I’d love to get over to the US and go to some of the big conventions over there! Something like a World Fantasy Convention or World Horror Convention would be fantastic. 

Joanne: I’d like to go to some of the big American conventions – I’ve heard very good things about WisCon and Convergence, so they would both be on my wish list. And I’d like to go to WorldCon in Helsinki in 2017 – that looks like it’s going to be amazing!

Steven: I keep looking at Nine Worlds and thinking if only my budget would stretch… and WorldCon in Helsinki. And the BristolCon Fringe. All of them, to be honest!

Juliana: If you could invite any three authors, living or dead, to attend your next SFF event, who would you pick? 

Alex: Blimey, there’s a question! For living authors I’d absolutely love to have Michael Moorcock, who was such a formative part of my teenage years and a huge influence on me. Unfortunately my other two favourite authors of all time are no longer with us – Ray Bradbury and JG Ballard. That would have been some line-up!

Steven: Tad Williams. Mary Shelley. Iain M Banks. There would be many more, but heck, one event at a time! 🙂

Joanne: I’d like to pick three authors we would have liked to have had at any BristolCon if the circumstances had been different. So, Diana Wynne Jones, Iain M Banks and the late great Colin Harvey, because it was all his drunken idea in the first place….

Juliana: Thank you very much to Alex, Joanne, and Steven for sharing a little of what goes into organizing genre events. Here’s to many more years of successful gatherings! And cake.

Steven Poore blogs at http://stevenpoore.wordpress.com, and you can also find him on Facebook: facebook.com/thestevenpoore. On Twitter, he tweets both as @stevenjpoore and as @SFSFSocial, the Sheffield Fantasy and Science Fiction Social’s account.

For more information on her work, as well as blog posts and reviews, check out Joanne Hall’s website at https://hierath.wordpress.com. You can find Joanne on Twitter @hierath77, and on Facebook at https://www.facebook.com/Hierath77/?ref=br_rs.

Alex Davis shares interviews, writing advice, and information on his work at  http://alexblogsabout.com, as well as on Facebook https://www.facebook.com/alex.davis.161446. Alex tweets as @AlexDavis1981.

 

Find further information on the events mentioned at:

http://sfsfsocial.wordpress.com (First social of the year: February 20th, 2016)

http://www.derbyquad.co.uk/special-event/edge-lit-5 (July 16th, 2016)

http://fantasyconbythesea.com/ (September 23rd-25th, 2016)

www.bristolcon.org (October 29th, 2016)

 

 

Spotlight is a monthly blog feature. Check out December’s Spotlight on Mythology in Fantasy with Snorri Kristjansson and Kerry Buchanan. Next up in February: Spotlight on Making Time to Write.