Category Archives: Editing

All of the Yays!

Finalists for the Australian Shadows Awards for horror fiction were announced today, and I’m absolutely chuffed that the comic, The Road to Golgotha, has made the shortlist in the Comic/Graphic Novel category. Woo and hoo! Huzzah! Woot!

The Road to Golgotha

The brilliant thing about this nod is that as The Road to Golgotha is effectively two stories (His Own Personal Golgotha and The Road) within the one tome, I get to share this nomination with GN Braun, who was with me every step of the way as I strove to get the script just right. A huge shout-out has to go to our artist, Monty Borror, whose horrifically beautiful illustrations brought the comics to life.

road page 19 a    road page 28

 
The incarnation from published short story to comic, The Road was two years in the making, and this nod is the icing on a very cool cake that involved the launch at Melbourne ComicCon last year (you can read an awesome review of it here). As my first foray into comics, I can’t tell you how damn awesome the validation is – you always want your babies to do well. It kicks that writerimposteritis in the guts, too.

But it doesn’t stop there. On the editing side, Alan Baxter’s In Vaulted Halls Entombed, from SNAFU: Survival of the Fittest, is a finalist in the Paul Haines Award for Long Fiction category. From the moment I read this story, I loved it. So seeing it nominated as well, is a huge buzz.

There are so many amazing writers nominated this year, a lot of whom are close friends, so this has been an amazing day of congratulating peeps I couldn’t be happier for, and being super-chuffed to have the comic given the nod.

So, if you’re looking for some amazing Aussie writers to read, the finalists of the Australian Shadows Award is a great place to start.  Congratulations to all the finalists!

The Paul Haines Award for Long Fiction

In Vaulted Halls Entombed – Alan Baxter

The Haunting of Gillespie House – Darcy Coates

Night Shift – Dirk Flinthart

The Whimper – Robert Hood

Edited Works

Bloodlines – Amanda Pillar

Lighthouses – Cameron Trost

Midnight Echo 11 – Kaaron Warren

Blurring the Line – Marty Young

Collected Works

The Abandonment of Grace and Everything After – Shane Jiraiya Cummings

Peripheral Visions: The Collected Ghost Stories – Robert Hood

Cherry Crow Children – Deborah Kalin

Short Fiction

The Bone Maiden – Greg Chapman

Eight Seconds – Pandora Hope

El Caballo Muerte – Martin Livings

Perfect Little Stitches – Deborah Sheldon

Mine Intercom – Kaaron Warren

Comics/Graphic Novels

The Road to Golgotha – GN Braun and Amanda J Spedding

Troll – Michael Michalandos

The Monster – Ben Rosenthal

Undad – Shane W Smith

The Rocky Wood Award for Non-fiction and Criticism

Winner to be announced

Novels

The Catacombs – Jeremy Bates

The Haunting of Blackwood House – Darcy Coates

The Transgressions Cycle: The Mothers – Mike Jones

The Transgressions Cycle: The Reparation – Mike Jones

The Big Smoke – Jason Nahrung

Riley

Watch this space…

Here’s to Women

I’ve been noticeably absent from my blog – not through choice but rather time constraints – I thought it fitting to return to it today. Just past Women in Horror Month, and it being International Women’s Day, what better time?

I am a woman working in horror, I am a woman writing horror, I am a woman raising a young woman… I am woman.  There are some, though, who don’t approve of that fantastic mix of women and horror (I’m not linking to any of that shite), and refuse to read any horror stories penned by women.  Hell, there are those who won’t read anything written by a woman, and while this might surprise some, it doesn’t surprise me – not in this world we find ourselves in.

Elitism exists in the publishing world, and has long-since been an issue for women who love the horror genre – those who write, read, act, direct, edit, et al ­– have faced criticism, ridicule, anger, disdain for daring to venture into horror. We’ve been mocked, derided, ignored, threatened, doxed, we’ve been made to feel unwelcome, our passion for the genre belittled because we don’t swing that Y chromosome. Get out of our man-cave!

Fury Road

I’m here to tell you that Y chromosome means squat when it comes to writing horror; the X chromosome means squat, too. You see, writing horror isn’t about chromosomes, it isn’t about being a man or a woman or neither of the aforementioned. It’s about writing a good story, a great story. It’s about making good art.

Unfortunately, there are those who believe horror/dark fiction is the bastion of men, and that’s why Women in Horror Month was born; to break down those walls, those prejudices, the ignorance. Women can’t write horror because they don’t know it? We don’t understand fear? Terror? Subjugation? Do my ovaries automatically signal my inability to dissect, disembowel, decapitate, dismember a character? Can I not create a world only to destroy it with impunity? Look away, uterus, there’s gonna be blood…

I’m not the only one who sees the ridiculousness of this. I’m not the only one who sees the disparity of the perceived belief of a woman’s “place” within the horror genre; within any publishing medium. If you think women are fairly represented, then take a look at this video and tell me this is right.

There are women writing amazing horror, women are editing, acting in and directing kick-arse horror movies and programs. Don’t limit your reading and viewing; horror and dark fiction is the greatest genre you can indulge in – a wide variety of voices and styles only enriches us all. Find storytelling from women, people of colour, from diverse backgrounds, from those who identify as LGBTI, from those with disabilities, from all walks of life, culture, religion and the non-religious. Open your scope and take in the wonder of diversity.

So as I sit here writing and drinking coffee from my Wonder Woman mug, here’s a small list of women writers and editors you should be reading:

Lee Murray, Silvia Moreno-GarciaKaaron Warren, Rivqa RafaelChristine Morgan, Nalo HopkinsonKirsten Cross, Sophie Yorkston, Angela Slatter, Octavia E Butler, Joanne Anderton, Catriona Sparks,  Rose Blackthorn, Zena Shapter, Paula R Stiles, Maria Lewis.

The above list only scratches the surface of women writers making their mark, and I encourage you to source more – diversity of voice will open worlds that ignite your imagination and take you to places of wonder.

And really, we’re all welcome in this place of storytelling.

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Festivus Book Pimping – SNAFU series

For your military horror dining delight, I bring you a big, fat course of SNAFU for your Festivus feast. Sit down, strap on (easy) your kevlar, and lock’n’load – it’s about to get messy. SNAFU (Situation Normal All Fucked Up) is the series put out through Cohesion Press that covers different takes on the military horror theme.

I’ve been lucky enough to be involved from the start as one of the co-editors of the series (with Geoff Brown), and having the pleasure of working with some truly amazing storytellers, both established and up-and-coming, and from here and overseas.  But more than that is the calibre of stories on offer.

Cohesion has four SNAFU anthologies currently on the market – two print/ebook and two ebook-only offerings. All of the anthologies have brilliant Dean Samed cover art, with internal art supplied by the wonderfully-talented Monty Borror. This is seriously good monster art – you won’t want to miss it.

SNAFU 1

Let’s begin with the first in the series, the entre: SNAFU: An Anthology of Military Horror. War is hell, and this offering was Cohesion’s first foray into the military horror theme, and garnered a Bram Stoker Recommended Read and finalist for the Australian Shadows Award (edited publication), thanks to the talented writers.

Next up for tasting in the series is SNAFU: Heroes, which offers novellas and short stories from Jonathan Mayberry, James A Moore, Weston Ochse and Joseph Nassise. As the blurb says: ‘From demons to horrors from the deep, the battles keep on coming. Fight or die…’

SNAFU Heroes

SNAFU: Wolves at the Door, is the next to the table, where you will share your meal with… my, what big teeth you have! This ebook tells the tales of soldiers fighting against all manner of were-animals – wolves take precedence in this instalment, but the diversity is staggeringly good. Stories with bite! (How could I not say it?)

And check out the cover art…

SNAFU Wolves

But wait, there’s more! The next in the print series is SNAFU: Survival of the Fittest, which was released in August this year. This is survival horror where every bullet counts. Low on ammo, this is about soldiers trying to make it out alive against nightmares made real. And damn, if these authors don’t know how to wrangle some nasty enemies for their squads.

SNAFU Survival

There are two more in the series on the horizon; I’m currently working on SNAFU: Hunters (think Grimm, Van Helsing, ‘Supernatural’s’ Sam and Dean), which will be published early next year. This SNAFU is all about the hunt, the thrill of the chase, and the uncertainty of outcome. Then there’s SNAFU: Future Warfare – military horror with a sci-fi bent (yeah, you know you want that!), which is due around mid-year. So keep your eyes and ears open for these, kiddies… well not literally kids, ‘cause unless you’re willing to shell out cash for some serious therapy, these books aren’t for them.

The beauty of the SNAFU series is that stories cover the gamut of historical to modern warfare; from Viking raids, the World Wars, Vietnam, Korea, Afghanistan… and all time periods and locales. And if you think you’ve read of every monster out there? Think again, my friend, oh yes, think again. There’s a diversity here that will keep you (or those you’ve gifted these treasures to) turning the pages.

Recommended for anyone who loves military stories, military horror, supernatural horror, straight messed-up horror… you get the picture. They’re brutal, they’re bloody, they’re awesome.

Festivus Book Pimping – Carole Nomarhas

It’s the 19th? Better get my Festivus Pimping moving along if I’m going to squeeze as many pimpalicious books in before I head away in three days (woo hoo! Three days!). Ahem. Sorry. As you were…

This time we’re back on home soil, with Australian author, Carole Nomarhas, and her wonderfully creepy short story collection, The Fading.  The stories in this collection run the gamut of horror, dips it toes into some fantasy, and gives you a little bit of urban as well – but the running theme through the diversity of stories is that not everything is as it seems. Like ever.

Now before I move on, a little background here. There are moments editors dream of – finding those stories (be they shorts, novellas or novels) where you know you’ve encountered a true storyteller. I’ve been lucky enough to have had a few instances of, what I like to call my ‘holy shit’ moments. And I got that with the first story of Nomarhas’ I read – Black Glass. That was when I knew this collection was going to be something special, and it was the first two lines of that story that dragged me in: The dead came back. All of them.

The Fading

In that moment, I knew I was working with something special. Each story built on the last; each one delivering their own sense of bleak storytelling that only reinforced my belief that Nomarhas is an author to watch.

Of course, I have my favourites, but the standard of this collection is so damn high, these were difficult picks indeed. Especially when you add in the almost poetic prose Nomarhas employs to visually transport you to her worlds: Moth-flutters of dark, tattered mist came to his call…

The Fading consists to eleven stories, each one a world, a horror unto itself, and each told with the same desire to take you places you will never forget, places that will haunt long after you’ve stopped reading. Nomarhas’ words tell you so: The wind sang thinly, ghost notes through hollow bones.

I can’t recommend this collection enough. Anyone who loves horror, dark fantasy, and the magic of words will love it.

Currently only available in ebook format, which makes it the perfect gift with just the click of a mouse.

Go. Now. Buy it.

Deadlines vs Goals vs Real-life

Deadline: (n) the time by which something must be finished or submitted; the latest time for finishing something.

Goal: (n) the result of achievement toward which effort is directed; aim; end.

Real-life: (interjection) the little demon that laughs maniacally at the deadlines and goals you set.

Deadlines. I work to them all the time. Sometimes I impose them on authors, sometimes authors impose them on me, and other times it is publishers dropping those deadlines – all of which is good. Deadlines give us that extra kick up the bum to get shit done, especially if those deadlines are given by others.

I work well to external deadlines – my business and reputation depend on it. And I love my work, so while sometimes it can be stressful when I have a lot of different projects on my plate, I tend to thrive under the pressure.

Goals. I set myself two (which stepped to three) this year with regard to writing and reading – two things I don’t get anywhere near enough time to do as I’d like. I’d finished the first draft of my novel in February this year as part of my Black Friday Wager; of which there’s about 10-15% I’ll keep, build upon. It set my characters and their motivations firmly in my mind, and levered the world in greater detail, but man did it need a serious rewrite… or greater focus.

So that was one goal met, which transitioned to my next goal: the second draft of the novel, which was to be completed by November 13, 2015 (yes, a Black Friday Wager). I did not meet this goal. Oh, I started and restarted and restarted the novel eleventy-hundred times, but could not get the starting point right.

imagination

Work and real-life had a part to play in me not meeting this goal. I’m not just a writer and editor; I’m a mother, wife, sister, daughter, aunt, friend, keeper of pets. I have bills to pay, groceries to buy, meals to cook, and a seemingly interminable amount of clothes to wash. I have homework to help with (you suck, high school math!), the kids’ sporting events (and training) to cheer at, and all the while remember that I must leave the house wearing pants.  I don’t begrudge any of that – it’s my life and I wouldn’t change it (okay, maybe the bit about wearing pants in the outside world, but… oh the joys of working from home!).

Often, something’s gotta give, and that something tends to be writing time (made easier, of course, when you’re sitting on your eleventy-hundred-and-first draft of draft two of your novel).  I did write three short stories this year, all of which made short-listings but no actual publication. But that’s okay – stories were written, and they’ll be tweaked and sent back out in the world. It’s the creating that’s the goal; publication is that cherry atop a cake. And one of the big cherries this year was the publication of my comic, The Road to Golgotha, launched at Melbourne ComicCon, so not a bad year on the publishing front at all.

The Road to Golgotha

What I didn’t skimp on this year (as I had done previous years), was reading time. As an editor, I do a lot of reading, and by the end of the day, my eyes can sometimes be pretty shot. So reading for pleasure doesn’t feel like pleasure at all. Last year, I read 14 books – not too many when you’re looking at just the number, but at least one a month, isn’t bad considering. This year, I set myself a goal of 20 books. I hit that goal last week with Greig Beck’s The Dark Lands (The Valkeryn Chronicles #2), which was brilliant, and one of those stories you wish didn’t have an end (review to come).

I surpassed that goal last night, finishing book two in a James A Moore trilogy. Yes, there were times I read into the wee hours of the morn, sacrificing sleep (and the next day’s sanity) to read just one more chapter…okay, just one more chapter…one more… but that’s more testament to the book(s) I was reading than my quest to meet my goal. I’ve chosen well the books I’ve read this year, and the authors who’ve penned them.

So I met two of my three goals, and yes, there was some angst and frustration around not meeting the goal of the second draft, but not anywhere near as much I’d have doled out a couple of years back. You see, I’ve learned to be kinder to myself, to understand that sometimes life has different ideas to the ones you set yourself, and that’s okay too. With age comes wisdom perhaps.

My life is good. No, actually, my life is great. I have an amazing family, two of the coolest kids on the planet, a kick-arse job, and the want and desire to wreak havoc in created worlds. And I get to read with impunity.

The point of this post (yes, there is one, you miscreants!), is that no matter the personal goals and/or deadlines you set, don’t beat yourself up if you don’t meet them – real-life always has your back.

Deadline: a date for things that may or may not get done (depending on who sets said deadline), but hey, we’re all huma– ooh, look, a kitty! 

Goal: something you wish to achieve but doesn’t hold your self-worth if not met  (may also be cake).

Real-life: fucking awesome.

 

Editors Aren’t Your Enemy

I don’t hate you. Really I don’t. These are phrases that often go through an editor’s mind as they work through your manuscript. We don’t hate you or your story; we’re not evil trolls ready to destroy your work. We’re not monsters who hack and slash at your words with wild abandon, our red pen dripping with the life-blood of your characters.

bloody pen

We’re not the enemy. We will, however, be your story and your characters’ advocate – devil or otherwise. That’s our job. And editors love their job. I know I do. We get to help a writer push the limits of their storytelling, to advise and collaborate to bring out its best. We question plots and sub-plots that aren’t cohesive, characters that appear to be acting out of character. We see what you don’t. Why? Because we’re not as close to your story as you are.

Objectivity is what we bring to the table, and it’s why all stories, no matter how they’re published (self or traditional) need another set of eyes (or more) to look over them. We haven’t been in your head developing the character(s), we don’t know the intricacies of their backstory – how they came into being. All we get is what’s on the page. If we question a particular point, or are confused about a character’s motivations, chances are so will your reader.

When going through a manuscript, we’re constantly aware that any edits, questions or suggestions may not sit well with an author; I mean we’re taking their lovingly-crafted baby and making marks all over it. We understand the blood, sweat and tears that have gone into bringing your work to life, especially those of us who are writers as well. We don’t laugh maniacally when we ask you to consider changing something, or deleting a scene altogether – we know it hurts, but we also know it could be the best thing for your baby.

One of my clients had a character she had been living with for a very long time, and about halfway through the manuscript, I noted the character was acting and speaking in a way that didn’t reflect them or their purpose. When I mentioned this to the client, they were surprised they hadn’t noticed it – I had the objectivity the client no longer had. When I saw the next draft of this manuscript, the character was better than even I could have imagined. I couldn’t have rewritten it – that’s not an editor’s job, they’d never be so presumptuous – but I could point out the issues and return it to the creator who knows their character far better than I ever could. Collaboration: when it works, magic happens.

book imagination

I know a lot of writers dread the editing stage of the manuscript, but this is a stage that needs to be embraced and enjoyed – you’re getting down to the nitty-gritty of the publishing process. Yes, if you misuse a comma or your verb-tense is a little off, we’re there to pick those up for you. We ensure your syntax is just right, that your characters and places are consistent in description and spelling, and will explain why.

Editing is a place where a writer can learn those intricacies of the English language, and we’re happy to share our knowledge. Why? Because we’re word nerds. I will happily walk through the reasons why you can or can’t use a semi-colon; why I’m a proponent of the Oxford comma, or how short, sharp sentences convey tension within a scene. I will explain why ‘showing’ works to create a deeper connection to the reader than ‘telling’ ever will, and why the passive voice can make the reader feel like a spectator rather than a participant, and why there are very, very few instances where punctuation exists outside speech marks. (This is usually where you’ll need to tell me to shut up, as I can wax lyrical for hours. Just ask my husband – he’s the one over there with the perpetual glassy-eyed look.)

So yes, editors are an essential part of the publishing process, whether you’re going the self-publishing route or traditional, and perhaps more so with self-publishing as this is a step quite a few SP authors overlook (or, sadly, believe they don’t need). I’m here to tell those authors you’re not only doing yourself a disservice but that of your potential reader. Nothing will piss off a reader more than a poorly written, non-edited book they’ve paid money to read. I know; I’ve been one of them.

bullshit

With the enormous amount of choice out there for readers, it’s getting harder to have your work, your stories noticed among the millions. But what will always help, what will always bring a reader back is when an author takes the care to put their very best work out in the world. Part of that process is to work with professionals. I read a post from a self-published author on this very thing – read it here; it has some great insights about finding a professional. (Yes, I’m her editor, and you absolutely should read her collection of short stories when it comes out – I can’t recommend it enough.)

And a professional is what you need. When sourcing an editor (or proofreader, cover artist, formatter/layout artist), check their credentials! I’ll say it again: CHECK THEIR CREDENTIALS! A professional will have studied, they will have qualifications backed up by paperwork, and they will have experience – all of which should be available to you. Ask. And ask for a sample edit – most will provide one.

There are a plethora of sources to find professional editors, but word-of-mouth is your best bet. Ask other writers who they’d recommend, ask forums and social media. If you can, source someone who specialises in your genre as they’ll have insights other editors may not. And speak to at least five editors before you make a decision. Not all editors will be the right fit, but when you find the one that clicks, you’ll make magic.

magic book

Weaponised Darwinism – SNAFU: Survival of the Fittest

I have many hats, both real and virtual, and today I’m wearing a pretty swish fedora with sparklers for added flair, and for very good reason.  *dons promotion hat*

SNAFU: Survival of the Fittest (the fourth in the series), hit the shelves the other day and it’s going great guns, as well it should. Sure, as one of the editors of this awesome tome, I’m biased but I’ve every right to be – *points to promotion hat* – the hat says I can.

As of this afternoon, the anthology sits at #3 on Amazon’s horror short stories, behind two of Stephen King’s books. NUMBER THREE! *does snoopy dance* (which looks spectacular with the sparkler-laden promotion hat, I gotta say.)

SNAFU Survival

The title of this anthology says it all – this is military horror at its most primal. Live or die. We’re not talking that peaceful slip into the abyss but, you know, flayed of flesh annihilation. We’ve got some of the best writers in the genre penning their soldiers and breathing life into their monsters. And oh what monsters they have for you! Think re-animation, demon and devilry, alien and elder creatures, mythos, and those birthed from nightmare’s bowels. What stands between you and these horrors are elite forces, para-military, mercenaries, and the (not-so) ordinary grunt from battles both modern and historical.

And lets not forget the art. The amazing cover is the creation of the ultra-talented Dean Samed, and each story has internal art by the genius that is Monty Borror.

As  co-editor of this kick-arse anthology with the equally kick-arse, Geoff Brown of Cohesion Press,  I’m immensely honoured and privileged to work with authors of this calibre – without them, SNAFU: Survival of the Fittest, wouldn’t be the book that it is.

To say I’m proud of this band of SNAFU authors is an understatement. So do yourself a favour, and check out these amazing authors and the monsters they’ve unleashed upon the world.

Table of Contents:

Badlands ­– S.D. Perry

Of Storms and Flame Tim Marquitz & J.M. Martin

In Vaulted Halls Entombed Alan Baxter

They Own the Night ­– B. Michael Radburn

Fallen Lion Jack Hanson

Sucker of Souls Kirsten Cross

Cold War Gothic II: The Bohemian Grove Weston Ochse

After the Red Rain Fell Matt Hilton

The Slog Neal F. Litherland

Show of Force Jeremy Robinson & Kane Gilmour

(Available in ebook, paperback and limited-edition hardcover with signature pages.)

Now I’m off to put out the sparklers before I set myself on fire…

 

The Long and Short Of It

I write. Have done for as long as I can remember, but this last year the second draft of my novel (or as it likes to taunt: double-dare you to finish me, mofo!), has monopolised my time. Novel writing has had a steep learning curve – sometimes I joyfully get it, other times I despair. Ah, the rollercoaster life of a writer – amazing highs and some really shit-house lows.

Of late, I’ve been in that dead zone between highs and lows: the ‘Meh’ State, as I like to call it. While I’m still running on the high of my comic release, a writer needs to keep moving forward, and… enter the Meh State.

Neh

It’s taken a while for me to figure out why there’s been an itch the novel couldn’t scratch, but after a week in the country at my dad’s farm, it became apparent – short stories. So focussed I’ve been on getting through this next draft of the novel that I’ve neglected one of my favourite writing mediums.

I returned to fiction writing (from journalism) about seven years ago, and it was with short stories I decided to lay my hat. There was method to my choice: mastering short-story writing would enable me to write a lot tighter, which in turn would assist with my ability to write a lot more story into a novel.

Writing long is a very different beast to writing short, but there’s intrinsic value in learning the art of short-story writing. Creating a complete story within a limited word count means every word has to fight for its right to be in the story – a skill that transfers extremely well to novel writing. It’s a skill I have; one of my shortest pieces (under 3,000 words) won the Australian Shadows Award in 2011. And I’ve been applying it to the novel… and here is also where I think I’m coming undone. It’s the focus on making every word count – especially in this second draft – that is taking me longer to get this draft done than I’d like. There’s a need to shift gears, to see the bigger picture.

Help me

But that’s not the only thing that’s pushed me into the Meh State. I’ve missed writing short stories. A lot. Honing in on a moment in time, a sliver of someone’s life, is a whole lot of fun (yes, horror is a helluva lot of fun to write – murder and mayhem and monsters, oh my!); there’s no need to create a world on the same scale as the novel, but more drip-feed the world/culture into the story – just enough for set the reader in that world.

And let’s not forget the gratification side of things. Writing a short is far quicker than writing a novel (duh), and there’s also a much quicker response time for a short story, be it accepted or rejected. You know what’s happening with it far sooner than you would with a novel. It’s that high of having a story out in the world, fighting for its right to be in an anthology that I’ve missed, the feeling of being actually working (regardless of how stupid that sounds).

Balance. That’s what I was missing. I’d forgone the love of writing in the short form to pursue the lure of writing in the long. As of today, I have two short stories out in the world at the moment, both written within the last few weeks, and I’m currently working on another for an anthology that deadlines at the end of this month. I’m pumped. Not just to finish this short, but to also get back to the novel. Going back to writing short stories has reignited my desire to finish the novel.

As with anything, having such a singular focus can drain the joy from things you love. That was my mistake.

And that’s the long and short of it.

 

Awards and Such Things

I meant to write this post before I left for my holiday but having two kids who’d rather video game than pack meant all my days blurred. But now it’s time to have a little chat about awards and such things most writers say they care little about but secretly (and sometimes not-so secretly) want. Sure, we write because we love it, because we’re driven to create words and worlds, because we’d go crazy if we didn’t, but recognition, be it via a sale, a kick-arse review, an award or recommended read is something every writer craves – that external validation that tells us we’re better than that little voice inside telling us we’re shit.

The first six months of the year are filled with awards (too many to list here), and the Australian Shadows Awards are the latest to hit my shores. Run through the Australian Horror Writers Association, it’s the premier awards for Australian and New Zealand horror that always presents really cool trophies – a different one each year, so you never know what you’re going to get.

AHWA

I had a pony in this race under the ‘edited works’ banner as co-editor (with Geoff Brown) for SNAFU: An Anthology of Military Horror. It was a strong field, up against Simon Dewar’s Suspended in Dusk anthology, and SQ Mag (issue 14) edited by Sophie Yorkston, and with just a week to wait from finalist announcements to the reveal of the winner, it was Sophie Yorkston and SQ Mag who took out the win.

Was I bummed? Sure – who doesn’t want to win an award for the work they’ve put in? Did I edit the anthology with the hopes of winning an award? No. I edited the antho because I got to work with some amazing authors with equally amazing stories. Of that I’m proud. An award win would have been a nice shiny cherry atop a kick-arse cake.

SNAFU cover art

There were four other categories: short fiction, long fiction, novel, and collected works – all with diverse and strong entries, and I was crossing my fingers and toes that two of my buddies (and fellow Sydney SHADOWS boozers) would take out a win.

Huzzahs happened when Andrew J McKeirnan won for his amazing collection Last Year When We Were Young. This is a fantastic collection of shorts that I reviewed here. If you haven’t read it, get off your bum and seek it out – you won’t be disappointed. Andrew’s been a Shadows Award finalist… well, heaps, so it was about time he took out the win. I’m sure he felt the same.

True to form, Alan Baxter took out the win for the short story category with Shadows of the Lonely Dead. He had two nominated works in this category, so that just shows you how much of a damn fine writer he is. Head over to his website and check out his work then buy it. Go on. What are you waiting for?

The novel category was taken out by Aaron Sterns and Greg McLean for Wolf Creek Origins (yes, of the Wolf Creek cinematic fame). Nightmare-inducing fun this! Fun? Okay, so maybe my idea of fun is a little different from yours…

Shane Jiraiya Cummings won the recently renamed Paul Haines Award for Long Fiction with Dreams of Destruction. While I haven’t read this story, I’ve read Shane’s work and I’m not at all surprised he took out this category.

So I didn’t win an award this year – that’s okay. I’ve been a finalist for the Australian Shadows Award, had SNAFU listed as a recommended read on the Bram Stokers’ ballot list, and the reviews for SNAFU have been incredible. I call that a win. I’d be lying if I said it was the ‘win’ I was looking for; you see, I’ve won a Shadows Award for my short fiction, and that’s an addictive high. I want to win another. Hell, I want a win a slew of awards. When I get hit with that writer-imposteritis, the trophy that sits atop my desk tells me I can do this writing thing; that I’m good enough to win an award, no matter what that inner voice says.

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The big winner here, though, is Aussie horror fiction, which is going from strength to strength, with recognition and appreciation for the power of Australian storytelling making those around the world sit up and take notice. And well they should.

 

2015? We Need to Talk…

Aah, 2015, how’d you arrive so quickly? Well you’re here now, so let’s get one thing straight, I have some damn high expectations forthcoming, so if you could not rush through this year as you did the last, that’d be great. Not that 2014 sucked by any stretch of the imagination, but I’ve set goals (note: that’s goals not resolutions) that I will reach, and strict regulations on my family/work/writing time management.

2014 was very business-oriented, with most of my time taken up with editing – don’t get me wrong, I love what I do; working with other authors… there’s not a lot that beats that!. This year, however, I will be much stricter with my working hours and my ‘no working weekends’ policy.  Still, business is good, and the authors I worked with last year were most inspiring. Writers rock!

I also had the pleasure of being a co-editor on the SNAFU series with Geoff Brown, the owner and editor in chief of Cohesion Press. SNAFU: An Anthology of Military Horror, and SNAFU: Heroes have both been released to strong sales, but more importantly, kick-arse reviews. SNAFU: Wolves at the Door, will be released this month, and as with the other SNAFU anthos, there are some truly amazing stories within, both from established writers such as James A Moore, and some new writers you definitely need to keep an eye on.

SNAFU Wolves

As for last year’s reading (I’m talking for pleasure, here, not work), I kicked 2013’s arse. Twelve novels and two short story collections, which I plan to beat this year as well. I’ve a review coming for the last collection I read, and am already well into the first novel for this year.

Writing wise… well, this had to take a bit of back-seat. I finished the script for for my comic, ‘The Road’, and the uber-talented Monty Borror has finished the art – I can’t begin to put into words how Monty has captured my vision for the comic, only to say that I am extraordinarily humbled as well as mind-blown by the man’s work. Lettering will begin soon, and the comic will be launched at Melbourne ComicCon in June through Cohesion Comics. (Watch out Melbourne, here I come! Ahem…)

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I wrote one short story last year, which was short-listed for a pro-paying market (that’s a win for me), but most of my writing was taken up with the first draft of my novel. Things there are progressing a lot slower than I’d like, but I have plan, and six weeks to get it done. And get it done I will. Then it’s rewrite time! I’ve also set a short story goal of four for the year, all to be subbed to pro markets. (See 2015? Goal-motivated  – don’t be screwing with me and start messing with time.)

So 2015, I’m taking no prisoners and you’d better be on board. Don’t make me get all stabby with you.