- Apex Publications Acquires Shock Totem Book Line
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 8
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 7
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 6
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 5
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 4
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 3
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 2
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 1
- Splatterpunk #7
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Tag Archives: James A. Moore
After a long absence from conventions, this coming weekend, June 5–7, we will have a table at the fourth annual Anthology conference (AnthoCon) up in Portsmouth, NH. Special guests include Christopher Golden, Tom Monteleone, James A. Moore, Gene O’Neill, and more…
Cat and Barry will be manning the table and selling copies of all Shock Totem releases at a generous discount. Barry will also be selling his hand-drawn bookmarks, individually or as a set.
Anyway, it is sure to be a helluva good time. Stop by the Shock Totem table and say hello (and maybe buy a thing or two).
Typically I shy away from short fiction collections unless I see the name King or Gaiman or some other major league writer on the cover in large letters. So to say that I approached Wicked Seasons: The Journal of the New England Horror Writers, Volume II, with trepidation is an understatement. However, what a treat it turned out to be, especially for this horror-loving writer and reader.
I was immediately engrossed (and a bit grossed out) by the stories presented in this annual collection. There’s not a lot here that one might label traditional horror, though the stories are definitely spooky, humorous, eerie and twisted. More akin to old episodes of Outer Limits, Alfred Hitchcock Presents or Tales from the Darkside. The thread of suspense and bizarre is definitely on display. However, every wicked story is right at home in this collection, and fit nicely into the breeding ground of dark fiction that is New England.
Wicked Seasons is edited by Stacey Longo and contains stories from Rob Smales, Scott Goudsward, Kristy Peterson Schoonover, Catherine Grant, Christopher Golden, and James A. Moore, to name a few. The collection does not stumble in presenting the strange, macabre, or downright grisly. You’ll not find the monsters and aliens of stories that might have appeared in the fifties or sixties in this anthology, but monsters of the more or less human kind.
Catherine Grant’s “Three Fat Guys Soap” is just such a story, in which a strange and horrific method of making soap becomes a stunning act of revenge, and is immensely satisfying for anyone who has ever been bullied by their boss.
“Blood Prophet,” by Scott T. Goudsward, is another example of the horror of humanity in which child abuse and religious dementia play a center stage role, and makes the ending all the more satisfying.
Christopher Golden brings us “The Secret Backs of Things,” which brings to mind Bradbury’s Something Wicked This Way Comes. It’s a puzzle in which events are merely hinted at, leaving the reader to figure the rest out.
“The Basement Legs,” by Robert J. Duperre, tells about a man who comes to the defense of a young, pregnant Filipino woman who lives in his apartment building. Duperre earns kudos here for bringing a whole new meaning to your local UPS service.
Kristi Petersen Schoonover writes “To Chance Tomorrow,” a cautionary story about science’s role in our lives, and the dubious changes it provides for our future, but at what cost?
If it’s hauntings that scare you, Addison Clift’s “Furious Demon” is a deliciously creepy tale of a woman’s dead father coming back to haunt her and who very well may have molested her when she was a child.
Rob Smales’s “A Night at the Show” and Errick A. Nunnally’s “Lycanthrobastards” are dark werewolf tales that provide surprising departures from standard fare, with fantastic results.
The Wicked Seasons table of contents also includes Trisha J. Wooldridge, Lucien E.G. Spelman, Michael J. Evans, Paul McMahon, and Gregory L. Norris—all very entertaining and chilling reads. For someone who doesn’t often read anthologies, Wicked Seasons exceeded all expectations and converted this reader to seeking out other, similar collections. Also, don’t miss the introduction from Jeff Strand. It’s as entertaining as the central stories.
As a reader, the first time I came across a new edition of a backlist book was Diane Duane’s Young Wizards series. First published in 1983, it was full of wonderfully outdated references that, as an 80s child, I felt right at home with. In 2003, Duane re-released the series under a “New Millenium Edition,” complete with bonus material and updated technology like cell phones. I didn’t understand it, so I dismissed it as a marketing gimmick.
My second exposure to the subject of backlist books was as a writer this past July at Necon. I attended a panel moderated by Lynne Hansen, where she, Christopher Golden, Lori Perkins, Heather Graham, and John Douglas discussed the act of “resurrecting” the backlist and general marketing advice for one’s writing. The panel not only interested me as a writer, but also as a reader. Established authors dusting off their “old” novels creates a library of undiscovered stories released either before I was old enough to read them, like Young Wizards, or that just escaped my attention.
Lynne Hansen, owner at Lynne Hansen Designs, specializes in “book covers that tell a story” and helping authors resurrect their backlist titles. Her clients include Christopher Golden, Amber Benson, James A. Moore, Owl Goingback, Jeff Strand, and Rick Hautala. When I asked Lynne about the top benefit for an author to look at their backlist, her answer echoed my own excitement as a reader: “When a fan discovers you for the first time, you hope that they’ll love your work so much that they’ll want to read your other books. The more books you have in print, the more they’ll have to love.”
In the past few years, many veteran authors are discovering that they are sitting on a gold mine of backlist material. Of course, the reason for books to go out of print is that bookstores can’t carry new releases, classics, and backlist titles in brick-and-mortar stores. However, with the emergence of e-books and the Amazon marketplace, space is no longer an obstacle. Many midlist authors are hoping to again have the luxury of cultivating a fan base without the insane pressure to either hit decent sales numbers or see their books out of print.
Throwing books out of print after a short sales period is a publishing practice that pushed veteran authors like Holly Lisle over the edge in favor of self-publishing their work. On her site, Lisle echoes the sentiments of many authors. “Now,” she says, “frontlist is all that matters, backlist dies, and writing fiction for a living has become not building a career but playing the lottery.”
However, Amazon has kept up with it’s reputation for driving change in the industry and has become the best place to find “new” backlist titles. “I don’t think readers look for re-released titles the same way they look for discount e-books,” said Hansen. Sites like Amazon ensure that multiple editions, “paperback, hardcover, audiobook, etc., are all linked together,” which has been a benefit to authors and a convenience to consumers.
Hansen is passionate about her work, not just for her clients but for readers who “say they’ve wanted to read a book for years but could never find it, and they just downloaded the e-book. And I’ve heard folks say they’re re-reading a book, or even an entire series, now that it’s available electronically. That’s a nice bonus.” As a reader, I appreciate Hansen’s dedication. Nothing makes me happier than finding a new author that has a vast catalog that can be ordered with the click of a button.
Of course, one of the largest benefits to authors using a print-on-demand (POD) service like Amazon and Createspace is “you don’t have to print 10,000 books and store them in your garage just to get an affordable per-copy rate. Companies like Smashwords make it easy for you to upload a single Microsoft Word document and get your e-book distributed to a gazillion different retailers.” As Hansen also mentioned, it isn’t so much the format of the e-book that has made maintaining a backlist possible again, but rather the affordability of the process and the accessibility of those titles to readers.
I’ve heard varied arguments for or against self-publishing. There is an impression that “indie pub” has created a market flooded with unedited first drafts, thrown up for public consumption by amateur writers that are not doing their homework, which is making good writers look bad. Hansen has a much different view: “People like to think that self-publishing is The Great Leveler, but it’s not. Good books still rise to the top and bad books still (generally) fall into obscurity. Sure, there are more opportunities, but there are also a lot more challenges, especially when you’re faced with the prospect of having to do all the production work yourself.”
Fortunately for readers, there is a level of professionalism and dedication that an established author possesses to do it right. The writer seeking to resurrect their backlist has intense work ahead of them in order to re-launch and market their title, which is where Hansen comes in. “If your car breaks, you don’t pop the hood and start checking wires unless you have those skills.” Authors are great at writing books, but a lot more goes into releasing a backlist title for a new market. Obtaining the needed components to resurrect a backlist title take time and energy. This energy is better spent doing the most important task to a writer—actually writing.
“That being said, reissuing a book isn’t as simple as pulling up the Microsoft Word document and adding a copyright page,” said Hansen. “You need to make certain you have the final, edited version of the manuscript and have incorporated any line edits that came from the original publisher. You need the dedication, introduction, acknowledgments, afterword, bio, and links to your online presences.”
Hansen also suggests hiring a cover artist. “You want your name and title crisp and readable, and an image that is striking when it’s small. Most importantly, your book cover needs to resonate with the readers of your genre. If it’s a thriller, it needs to look like a thriller, not like a horror novel. You need a designer who understands marketing, because ultimately, your book cover and blurb are the best marketing tools in your arsenal.”
One difficulty Hansen has faced with marketing her client’s backlist books is “they’re not new books. They’ve already been reviewed and promoted and odds are that your die-hard fans have already read them.” Even authors with an established platform would still need to promote their backlist to a new audience. This might be as easy as appealing to a new generation of fans or hitting the market with the right book at the right time, such as Christopher Golden and Rick Hautala’s Body of Evidence thriller series, featuring young protagonist Jenna Blake.
“In today’s marketplace, the Jenna Blake books would be categorized as ‘new adult’ and is much more likely to be read by adults than by teens. It’s a category that didn’t even exist when the books were being written. For the re-issues, I designed covers that were more familiar to thriller readers than to young adult readers, and we tweaked marketing descriptions to reflect the new focus. It’s really helped the entire series reach many more readers.”
One way that authors can promote their backlist titles might seem obvious: “Backlist books are the gravy, not the meat,” said Hansen. “The best way to promote an old book is to write new ones.”
Personally, I’ve snapped up quite a few backlist titles that were released on Amazon in the past year, including Strangewood by Christopher Golden and The Wicked by James Newman, the latter released by Shock Totem in May of 2012. I was also excited to find Closed Circle Publications, a site created by award-winning sci-fi and fantasy authors C.J. Cherryh, Lynn Abbey, and Jane Fancher to market their backlist titles.
Keep an eye out for the above authors and their amazing, high-quality re-releases coming to an Internet near you. I personally will continue to forgo the trip to Barnes & Noble (which I’ve never been a fan of, honestly) in favor of staying at home with a beer, or a coffee if it’s early enough, and scouring Amazon and Google in search of new backlist titles from veteran authors. So far, my purchases have been more than worth it and have exposed me to stories that would have otherwise gone unexplored.