Showing posts with label Great Jones Street. Show all posts
Showing posts with label Great Jones Street. Show all posts

Friday, 23 June 2017

Narrating is Hard, Who Knew?

It's not like I haven't always had a ton of of respect for narrators.  And I've had reasons enough to listen to them.  For some unaccountable reason, a disproportionate amount of my work has found its way into podcast or audiobook: all four of my novels, novella Patchwerk, and a dozen of my short stories have all had the audio treatment, and to the best of my recollection not once have I been less than thrilled with the results.  I've been really lucky on that front, and maybe that's one of the reasons I quickly started to notice how tough reading fiction out loud was, let alone doing so without stumbling over every other line, let alone while bringing genuine emotion and life to the work.

Still ... when you try it yourself, you discover that narrating is really damn tough, and that the people who do it professionally are really damn talented.  I mean, it's not like I've never had to read stories out loud, and sometimes I've even done so in front of quite large groups of people.  But if you fluff that then you can blunder through or make a joke about it, and really volume tends to be the main thing that matters in those situations, so if any actual subtlety or drama creeps in then I feel like I've done a decent job.  Actually making a recording of a story, though?  That's a whole other thing.  One significant mistake and you've had it and - as I discovered to my cost - just going in without the right amount of joie de vivre is enough to make for a rubbish end result.  Reading for thirty-five minutes without major slip-ups and without letting your energy flag is a heck of a challenge.

About now is when I should explain why I was even trying, right?  Basically, the answer is, because the folks at Great Jones Street asked me to, and those guys are cool enough that I didn't mind giving it a go.  If you haven't downloaded the GJS app by now, you really should; it's a huge library of short fiction by a ton of big name (and not quite so big name!) authors, and it's completely free.  More to the current point, it contains four of my stories: Jenny's Sick, Great Black Wave, and my two tales following master assassin Otranto Onsario, Ill-Met at Midnight and A Killer of Dead Men.  And the folks at GJS decided that it would be neat if their readers could be listeners too, so long as what they were listening to was authors reading out their own fiction.

In fairness, I should admit that I was largely extent imposing my own difficulties: Great Jones Street didn't ask for flawless renditions, and indeed specifically requested the exact opposite, suggesting that their audience would much prefer more warts-and-all renditions.  But, you know, you can tell a perfectionist not to try and get things perfect until you go blue in the face and it won't make a damn bit of difference.  Fortunately for my sanity, what did was sheer lack of time, not to mention a good deal of luck - otherwise I'd have been at this all year.  As it was, I managed to get by with only a few minor hiccups and one fairly major one, too far into A Killer of Dead Men for me to start over yet again.  What can you do, right?  "City" and "roof" sound awfully similar.

Anyway, for anyone who's curious, here's me reading out Great Black Wave, which is perhaps my favourite of the four stories and, not at all coincidentally, probably the one I did the best job with.


And, again, you can find the Great Jones Street app and so listen to all four, as well as lots and lots of other stuff, here.

Tuesday, 9 May 2017

Short Story News, May 2017

Not for the first time, I've been lax in keeping up with my short story news, and not for the first time that means I now have a couple of posts' worth that I'm going to have to cram into just the one.  And as usual, the reason was that I felt as though not a lot was happening until I suddenly realized that it had been and I'd just been distracted!

Anyway, let's go for the new stories first.  Casualty of Peace marks my third collaboration with award-winning editor Eric Guignard; Eric got in touch to let me know he was resuscitating the long-running Horror Library anthology series, and did I have anything that might be a good fit?  The story we settled on is something of a companion to the last one Eric bought from me, Prisoner of Peace, and came out of the World War One research that occupied so much of my first year of full-time writing.  The question I found myself asking was, what must it have been like for those wives and mothers on the home front in the latter years of the war, who'd seen so many men return mentally or physically damaged beyond all repair?  Did they hope that their menfolk would be somehow exempted?  Or did they begin to secretly dread their return?  The result, like Prisoner of Peace, is a ghost story of sorts, an extended metaphor and a puzzle with no real answer, except perhaps that war spares no-one.  You can find it in Horror Library volume six.

I feel like I've mentioned my golem sex story quite a few times here, but perhaps that's just because I like typing the phrase "golem sex story."  And perhaps I'm not doing Feet of Clay, Mind of Coal justice by focusing on one particular, brief scene in what's actually an (admittedly rather weird) love story with a background in the folklore research I drifted into for my MA dissertation.  At any rate, of everything here, the third in Pantheon Magazine's Gaia anthology series is the only book I've actually found time to read, and it was just as good as volume two, which I enjoyed a great deal.  You can grab a copy here.

My second sale to the impossibly long-running Space and Time was another older story.  I can't even remember exactly how long ago I wrote Children of Deadways, except that it came towards the end of a period when I produced a lot of work I'm particularly happy with.  I was experimenting with the possibilities of going all-in on world building, and this is maybe the culmination of that trend, an elaborately Gothic dark fantasy with a setting I could probably have squeezed a whole novel out of.  You can grab a copy of issue 128 from the Space and Time website, and it comes highly recommended; there are reasons this magazine has managed to stick around for half a century.


Lastly for the new stuff, my most recent sale turned out also to be the most recent thing to come out: Now That All the Heroes are Dead was picked up by Read Short Fiction not even a month ago and, as of the start of May, it's up to read on the site.  I wrote this one for an open anthology call asking for Lovecraftian heroic fantasy fiction and, between you and me and in my greatly biased opinion, I still think they were dumbasses not to take it!  I had great fun distilling all my favourite weird fiction into one twisted little tale, and there's even a bit of subtext in there, thanks again to all that World War One reading.  It's pretty short, too, so why not give it a read?

On the reprints side, the most exciting news is perhaps that the editors at Pseudopod got in touch to ask if they could anthologize my story Stockholm Syndrome as part of their 10th anniversary celebrations.  Obviously I said yes, but I also took the opportunity to polish up a story that, frankly, has long since stopped owing me any favours; between Pseudopod itself and the hugely successful The Living Dead anthology, this has to be the most widely read (and listened to) short story I've written.  You can find the improved new version in the For Mortal Things Unsung anthology - which, given that it was primarily an incentive for a Kickstarter campaign, isn't that widely available, but can be grabbed from Smashwords, among other places.

Meanwhile, it will surprise no-one that I've had a couple more stories out with Digital Fiction Publishing.  As well as appearing in their own adorable individual e-books, Passive Resistance can be found in the Operative Sequence science-fiction collection and Rindelstein's Monsters appears in the Digital Fantasy Fiction book Casual Conjurings - which, by slightly awkward coincidence, I also did some of the slush-reading for.  Fortunately Rindelstein's Monsters got picked up well before I started, so at least I can't be accused of being one of tham thar nepotists, and the plus side is that, even having not seen a copy yet, I can confirm that there's some cracking fiction inside.

Last up - since I can't talk yet about the highly exciting reprint sale I snagged a few weeks ago! - I have a couple more pieces in Great Jones Street, namely my two stories following master assassin Otranto Osario through the mean streets of Cold Harbour, Ill-Met at Midnight and A Killer of Dead Men.  If you're at interested in short fiction then you really need to be paying attention to Great Jones Street, their app is free to download and is absolutely stuffed with great work from some of the biggest names in the industry (and, er, me.)

Anyway, that'll do for the moment.  As I vaguely remember predicting, the sales have slowed down this year - in fact, until April they'd dried up altogether - so I don't actually have that much left to come out.  But what there is is pretty exciting, so hopefully I'll have enough material to justify another one of these posts before too long.

Wednesday, 21 September 2016

Great Jones Street is Live

So I've made the odd mention of a thing called Great Jones Street, and that they've published a couple of my stories, while being kind of vague on the precise details.  If I'm honest, that was partly because I'm habitually vague and partly because I didn't quite understand them myself.  But now I've watched a video explaining things and I'm much clearer!

Great Jones Street is a short story magazine that's also an app.  Currently it's only available for Apple devices, but that will be changing pretty soon - and this is largely why it's taken me a while to figure out the ins and outs, because I have no apple devices, or even any apples for that matter, except tinned ones that probably don't count.

In essence, and assuming I understand correctly, Great Jones Street is an e-reader optimized for use on mobile devices, one that comes pre-loaded with its own huge, cross genre library of short fiction.  Those stories are being cherry picked from the top tier of markets, with an emphasis on award-winning material, so there's as much of a guarantee of quality as you could reasonably hope for.  The pitch on the website is basically "why is there no Spotify for short fiction?" along with "short fiction is really great for reading on mobile phones," and I agree wholeheartedly with both of those statements.  In fact, this seems to me a lot like an app based version of what Digital Fiction Publishing have been up to, and I've made no secret of how I think that's a great concept.  So I feel safe in saying that Great Jones Street is shaping up to be something pretty amazing, and that it's well worth checking out.

With that in mind, you can get more details and a link to the App Store here.  And here's a rather long (and probably already out of date) list of the stories already available.  You may, if you're careful, spot my name among them...

"Visitation" Corinna Vallianatos
"The Mourning Door" Elizabeth Graver
"Grad School" Fred G. Leebron
"The Idiot, or Life in Wartime" Fred G. Leebron
"When It’s You" Fred G. Leebron
"That Year Off" Fred Leebron
"In Other Words" Jennifer Haigh
"The Truth and All Its Ugly" Kyle Minor
"Going To The Big House" Tom Bailey
"Ruby" Tom Bailey
"This Is Not A Love Story" Tom Bailey
"Zombies" Tom Bailey
"A Neighboring State" Corinna Vallianatos
"Islands Without Names" Elizabeth Graver
"Paramour" Jennifer Haigh
"A Wild Night and a New Road" John Dufresne
"Between" Elizabeth Graver
"Ghostreaper, or, Life After Revenge" Tim Pratt
"Jenny's Sick" David Tallerman
"Great Black Wave" David Tallerman
"Mono no aware" Ken Liu
"Paper Menagerie" Ken Liu
"The Bookmaking Habits of Select Species" Ken Liu
"Enter A Soldier" Robert Silverberg
"Keeper" Steve Adams
"Hart and Boot" Tim Pratt
"Impossible Dreams" Tim Pratt
"The Secret Beach" Tim Pratt
"Why We Came to Target at 9:58 on a Monday Night" Andy Roe
"Eagle, Globe and Anchor" Geoffrey Becker
"A Time and A Place" Hugh Sheehy
"The Experience Collector" Hugh Sheehy
"The Last Days" Hugh Sheehy
"To Build a Fire" Jack London
"Saving Bambi" Janet Burroway
"The Mandelbrot Set" Janet Burroway
"Cliff Walk" Jessica Treadway
"Down Here" Jessica Treadway
"Ghost Story" Jessica Treadway
"Dirty" John Affleck
"Fine Arts" Karin Lin-Greenberg
"Paying by Check" Karin Lin-Greenberg
"Theft" Katherine Anne Porter
"A Kidnapping in Koulèv-Ville" Kyle Minor
"Till Death Do Us Part" Leslie Pietrzyk
"Remember Me To The One Who Lives There" Michael Parker
"Sredni Vashtar" Saki (H. H. MUNRO)
"Junk Food" Sarah Harris Wallman
"Only Children" Sarah Harris Wallman
"The Dead Girls Show" Sarah Harris Wallman
"Saint Petersburg" Scott Laughlin
"The Fish" Steve Adams
"Holiday" Terri Leker
"What We See" Leslie Pietrzyk
"Benefit" Brett Beach
"Slim Jim" Brock Clarke
"You Would Have Told Me Not To" Christopher Coake
"Compliments" Erin McGraw
"L.A." Erin McGraw
"Love" Erin McGraw
"Crossing Cabot Strait" Geeta Kothari
"Dharma Farm" Geeta Kothari
"Small Bang Only" Geeta Kothari
"Given Ghosts" Jane McCafferty
"Game Winner" John Affleck
"Immaculate Obsession" John Affleck
"Winter Practice" John Affleck
"Small Worlds" Karin Lin-Greenberg
"The Splashing Carp" Karin Lin-Greenberg
"Eight Track" Matt McEver