Posts Tagged ‘Margo Lanagan’

website-logoThe second interview for today is with Kaaron Warren. Kaaron Warren is an amazing talented and successful horror author, with over 200 published short stories, and several novels. Her work has featured many times in “Years best” collections, such as those edited by Ellen Datlow and Paula Guran.  Many thanks to Kaaron for stopping by blog for a chat.

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Q. Tell us a little about yourself and your background?

KW: I’ve been writing stories since I was a kid, finishing my first novel at 16. I try to fit a life between the lines. I try not to harvest every conversation, every confession for story. Mostly I succeed.

Q. What draws you to horror generally, and was there a defining moment where you something mad you think “Fuck it, I’m writing a horror story!”?  

KW: I love the honesty of good horror. The acceptance that there is no happy ending beyond momentary illusion.

My first story in print was horror, but I never had to say “Fuck it”, because no one ever told me I shouldn’t or couldn’t, so there was no need for that moment of rebellion.

Q. What is your favourite horror story and what about it specifically rustled your jimmies? 

KW: I don’t know what jimmies are or what it means to have them rustled, and there’s no way I can pick one story as a favourite! The stories I’ve loved imprint themselves on me in one way or another. A turn of phrase, an image, a killer ending. And an individual voice is a must. I edited an issue of Midnight Echo and read about 300 stories, I think. The ones I published were those I remembered in the night, and the next day, and the week after.

There were stories from Vincent G McMackin, Evan Purcell, Jarod K Anderson, Mark Farrugia, Marija Elektra Rodriguez, Claire Fitzpatrick and Deborah Sheldon.

Q. What have you written? And what is your personal favourite of your own work?

KW: I’ve published three novels from Angry Robot (Slights, Walking the Tree and  Mistification).

I’ve published six short story collections:

“The Grinding House”, CSFG Publishing

“The Glass Woman”, Prime Books

“Dead Sea Fruit”, Ticonderoga Publications

“Through Splintered Walls”, Twelfth Planet Press

“The Gate Theory” Cohesion Press

“Cemetery Dance Select: Kaaron Warren” Cemetery Dance Publications

I’ve had about 200 stories in print in many different places, including Ellen Datlow’s Year’s Best and Paula Guran’s Year’s Best.

I can’t choose a favourite! And not just because it would be mean to the other stories.

Q. Do you have a favourite form or media for story telling?  E.g Short story, Novel, Audio drama or podcast, audiobook

KW: I love all story forms. Novels, short stories and novellas, graphic novels, dramas; it’s all good.

Q. What are you working on at the minute? Do you have any news?

KW: I’m working on the novel inspired by researched carried out during my Fellowship at the Museum of Australian Democracy at Old Parliament House. Artists, murderers, Prime Ministers, haunted houses and jailbreaks.

I’ve also just signed a contract with ifwgAustralia, for my novel, The Grief Hole.It will be published this year and is the second work in the Dark Phases series.

http://ifwgaustralia.com/2016/02/19/newskaaron-warren-signs-contract-with-ifwg/

Q. Who is your favourite woman writer?

KW: Again with the favourites! I can’t. I won’t. So here’s a list of just some:

Lisa Tuttle, Gemma Files, Caitlin R. Kiernan, Elizabeth Hand, Margo Lanagan, Kirstyn McDermott, Deborah Biancotti. Lisa Morton, Livia Llewellyn, Lucy Sussex, S.P. Miskowski, Alison Littlewood, Thana Niveau

Q. Are there any projects involving other women that you’re looking forward to or would like to get on board with? 

KW: I love Maura McHugh’s work and can’t wait to see what she comes up with next.

Q. What book/s are you reading at present and what is in your TBR pile?

KW: I’m reading for the Shirley Jackson Awards at the moment so my TBR is massive and can’t be discussed!

I do always have a pile of non-fiction to read, though. These are some of them:

Pleasures of the Italian Table by Burton Anderson

The Telling Room by Michael Paterniti

Catastrophe by David Keys

Q. What challenges have you encountered that are unique to being a woman in the horror genre, or can you describe some of the  challenges have you faced that are complicated by your gender?

KW: Hmm, this is a tough one. I have experienced those challenges, not to my knowledge, anyway. I’ve been lucky; others not so.

Q. Why is Women in Horror month important/important to you? 

KW: As many have said, I wish we didn’t need it. But it’s great to highlight good writers, and if readers discover new books through it, then it’s a win.

Q. What advice would you give to aspiring writers?

KW: Be brave. Go to that place you think you shouldn’t go. Don’t hold back.

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Hi everyone. One of today’s WIHM interviews is with Michelle Goldsmith. Michelle is one of the coolest people I know and I’ve had the benefit of critiquing a few of her stories. I have little doubt she’ll be making waves throughout the speculative fiction scene in coming years.  A nominee for this year’s Aurealis award, here fiction has appeared in places like the Review of Australian Fiction, Andromeda Spaceway’s Inflight Magazine, and  The Year’s Best Australian Fantasy and Horror.   Special thanks to Michelle for visiting my blog for a chat!

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Q. Tell us a little about yourself and your background?

MG: I’m a Melbourne-based author of mostly speculative fiction, who currently works as an editor and technical writer/technology journalist.I have a BSc majoring in Zoology/Evolutionary Biology and have just completed a Masters in Publishing and Communications. My thesis looked at technology-driven changes in the author-reader relationship and how author persona and other factors may influence readers’ buying or reading behaviour. Prior to my current job, I worked as a bookseller for 5-6 years.

I sold my first short story when I was around 21, after I started writing to give myself some kind of purpose while I took time off from my first degree due to health issues. I needed some kind of focus so I didn’t feel so much like my lifewas on hold. I’d always planned to write, but up to that point I just consider myself ‘not ready’. Then I saw a call for subs that matched an idea in one of my notebooks of story ideas and thought, ‘Why not give it a try and see if they give me any feedback in my rejection?’ When the story was accepted it made me realise that I actually had no excuse to keep putting off writing. Also, once I had a taste for it I couldn’t really stop.

After that I did a mentorship with Kaaron Warren, who is not just a brilliant horror writer, but also a great mentor. Then I got more involved in the Australian spec fic community and was invited to join my current writing group and things have gone from there.

I’d still consider myself to be pretty early in my career and I hope I’m just getting started. I’ve been writing to submit for about 5 years now but my chronic health issues made quite a few of those years very interrupted and not conducive to much writing if I was also going to manage my studies and work enough to get by. Now that I’ve finished my Masters I’m trying to sort out some health stuff so things are more stable and gradually work through my backlog of stories that need revisions, new story ideas that need to be written and, eventually, a couple of novels that while fully-outlined, don’t yet have a complete first draft.

 

Q. What draws you to horror generally, and was there a defining moment where you something made you think “Fuck it, I’m writing a horror story!”?

MG: I love the strange and unsettling. My preferences lean more towards the type of horror fiction that might be described as more ‘literary’ than the super-gory or splatterpunk kind of horror. I generally find things that are a little subtler and leave more to the imagination scarier and more memorable. Sometimes I do just enjoy a good adrenaline rush as well though.

Horror fiction can help you explore the horrifying and unjust parts of real life in a meaningful way. I think what we find horrifying can tell us a lot about ourselves. Additionally, a horror story written without empathy tends to fall flat, at least for me.

On a personal level, some of my attraction to horror and other dark fiction probably has to do with events in my childhood (mostly the long illness and eventual death of my father) and possibly my own health problems. There is a lot of intrinsic horror in realising that you have absolutely no power, no control, over some things in your life. Additionally, often when you grasp at ways to find control or force the world to make sense, it sends you down a very dark path.

Reading and writing horror allows you to investigate the things that disturb you. As the writer, no matter how dark things might get in a story, you have a measure of control over the things that horrify you. On the other hand, reading horror gives you an opportunity to surrender control into the hands of the author and experience terror in a safe way.

I don’t usually set out to write a horror story specifically, but horror elements to creep into most of the stories I write.

 

Q. What is your favourite horror story and what about it specifically rustled your jimmies?

MG: I can never seem to pick a favourite! There are lots of stories I love for lots of different reasons and often the stories and reasons are too different to really compare. Three that come to mind are:

  • The Cherry Crow Children of Haverny Wood by Deborah Kalin,
  • A Home for Broken Dolls by Kirstyn McDermott,
  • Sky by Kaaron Warren.

I generally enjoy horror stories with interesting settings, a strong sinister undercurrent, an escalating sense of dread, and evocative and beautiful writing that contrasts with the horrors the author is describing. I like experimentation and will take a flawed, ambitious story or book over a perfectly executed story that just follows tropes and doesn’t challenge me in any way.

I also prefer a writing style that trusts the reader and doesn’t condescend to them, and leaves some space for the reader’s imagination to fill in the gaps.

 

Q. What have you written? And what is your personal favourite of your own work?

MG: So far I mostly write short fiction. Some of my more recent publications include a reprint of Of Gold and Dust (a story set in Ballarat during the gold rush) in The Year’s Best Australian Fantasy and Horror (originally published in Andromeda Spaceways Inflight Magazine #60) and The Jellyfish Collector in Review of Australian Fiction, which was published with a story by Kaaron Warren.

I still think my best work is yet to come, but if I had to pick one, The Jellyfish Collector is closest to my heart for personal reasons.

A reprint of my first published story, The Hound of Henry Hortinger, is available online. It was originally published in an anthology of spec fic based on the writing and themes of the books of Charles Dickens.

As for awards, I was nominated for the ‘Best New Talent’ Ditmar twice, but didn’t win. One day, awards. One day I will make you love me!

Other than that, some articles based on my Masters thesis research should be published later this year, which might be interesting for anyone interested in how author persona affects readers’ buying and reading choices, what they really don’t like authors to do online, and the influence of factors such as gender.

 

Q. Do you have a favourite form or media for story telling?  E.g Short story, Novel, Audio drama or podcast, audiobook

MG: I love short stories. I enjoy both reading and writing them, and how they allow for experimentation. I feel like trying lots of different things and experimenting with different styles and themes helps me improve as a writer (which is important seeing as I am pretty early in my writing career) where if I was solely working on one big novel project I might not get to do that.

I think some ideas are short story ideas and some require a greater length though, so I am also interested in writing novels. I tried writing one around the time I started writing short stories, but because I was still learning so much of the craft, by the time I got 10,000 words in I always decided I wanted to go in a different direction and what I had written just didn’t fit. Now I think I’m finally close to the stage where I’m sure enough about what I want to do with a novel that I could get out an initial draft that I could then work with.

 

Q. What are you working on at the minute?

MG: So many things! I have a large backlog of short stories that need some last revisions before I submit them anywhere. I just couldn’t give them enough time and attention when struggling with health problems and medication adjustments while trying to work and finish my Masters. I also have plenty of other story outlines that need to be drafted.

I also have a dark science fiction novel that is slowly coming together.

 

Q. Who is your favourite woman writer?

MG: I can’t pick a favourite, there are too many, and trying to would be even more complicated because I know a lot of the horror writers I read personally.

Here are a handful of my favourite Australian female short fiction writers.

  • Jo Anderton manages to pull off wonderfully strange ideas.
  • Kaaron Warren’s fiction is so brutal it hurts.
  • Kirstyn McDermott writes beautiful prose and tackles some truly disturbing subjects with such a deft touch that it never feels exploitative or like she is going for cheap shocks.
  • Margo Lanagan is Margo Lanagan.
  • Claire McKenna is criminally underrated, in my opinion.
  • Ellen Van Neerven is great and probably not well enough known in genre circles even though she has written some speculative stories.
  • Deborah Kalin is a newly discovered favourite of mine since reading her collection, Cherry Crow Children.

 

Q. Are there any projects involving other women that you’re looking forward to or would like to get on board with? 

MG: I have nothing on my schedule, although I am open to collaboration. I love editing and swap crits with a large number of people, many of whom are women. One day I would love to edit an anthology and it would surely have some women in it.

 

Q. What book/s are you reading at present and what is in your TBR pile?

MG: My to-read pile is more of a to-read room. I’m actually in between books right this moment, and will need to choose another tonight. I just finished The Natural Way of Things by Charlotte Wood, which could actually be classed as horror. Before that I read Animal Money by Michael Cisco.

Some books I plan to read soon are Madigan Mine by Kirstyn McDermott, the Xenogenesis series by Octavia Butler, Arms Race by Nic Low, The Wonders by Paddy O’Reilly, Resurrection Science by M. A. Connor and probably whichever books will be discussed in the next The Writer and the Critic podcast.

 

Q. What challenges have you encountered that are unique to being a woman in the horror genre, or can you describe some of the challenges have you faced that are complicated by your gender?

It’s a bit hard to quantify a lot of gender-related challenges, because I can never be certain if having a typically female name on one of my stories has ever influenced the way a slush reader read it, or what affect implicit bias may have had on how my work has been received.

Sometimes I do feel that as a woman I might have to justify my presence in the horror genre a little more. This is mostly due to some unpleasant experiences I had when I first started writing. Possibly it is also because it’s hard not to internalise things, at least to some extent, when every so often you are bound to come across online rants about how women can’t/shouldn’t write horror.There were some things early on that could potentially have affected my confidence negatively and that probably would have prevented me from going to conventions for a while if I hadn’t had strong support from other writers.For instance, I was around 20 or 21 (and probably less confident) when I first started going to conventions, and I had a few memorable experiences. During a panel at one convention, another woman in the audience asked a question about whether there were many women in the horror comic industry.

Later, when I was leaving the convention, a guy around my own age came up tome and asked if I was the one who asked that question. I said I wasn’t, but then he asked me why I was there. I was kind of taken aback and just said that I wrote horror stories and a friend (who also happened to be a female horror writer) had encouraged me to come. In response to this he kind of looked me up and down and said ‘Unpaid, I’m guessing.’ Then as I walked to the train station he followed me until I got on my train regaling me with his opinions about how no women wrote ‘actual horror’ and how women ‘just aren’t interested in horror for biological reasons’. I don’t think he realised he was making me uncomfortable, but I found it a bit intimidating at the time.

Other than that, before I joined my current crit groups, I used to use online workshops a bit. A couple of times got weird critiques that were a bit nastily personal and focused too much on my gender. One memorable one accused me of contributing to the ‘feminisation of science fiction’.

However, these probably helped me come to the realisation that not all critique sare helpful, and some should just be ignored. These days, I mostly workshop fiction with writers I know personally and whose opinions I trust, so I haven’t had any gender critiques for a while.

I think I’ve probably had it far easier than some people though. Overall, so many writers in the Australian and online spec fiction communities have been extremely supportive of me and my work from the get go. I find it’s much easier to deal with any negativity when I have people whose work I really admire and whose opinions I trust telling me that I’m a good writer and never questioning whether I belong in whatever genres I choose to write in or whether I’m just giving spec fic some kind of literary ‘cooties’.

 

Q. Why is Women in Horror month important/important to you? 

I think it’s useful for giving female horror authors some extra visibility, seeing as there are still some people who seem to think they don’t exist. During my thesis research I also found some suggestion that initiatives like WiHM and the different review counts (both within and outside of spec fic) have had an impact on some readers and may be helping counter implicit bias.

For instance, a fair few respondents to my survey said that such initiatives had made them look at their reading habits and that when they did, they realised they had been reading almost entirely male-authored books and neglecting work by anyone else without even realising it (many attributed this to differences in the visibility of different authors or the way books are marketed).

In many cases, these readers were now actively looking for more works in their favourite subgenres by women (and POC or minority authors, in some cases) and trying to diversify their reading.

 

Q. What advice would you give to aspiring writers?

I’d tell them not to stick to their comfort zone, to experiment and try new things to keep growing as a writer, and not to be disheartened if sometimes things don’t work out.

Also, to get lots of crits and learn to distinguish those that better realise their vision for their story from those that want them to write a completely different story.

I’d probably also tell them that there is a lot of bad writing advice online and to view a lot of it sceptically unless it comes from someone whose opinion they trust. Everyone has a different process and there are few absolutes.

 

Michelle Goldsmith Links:

Website: www.vilutheril.com

Twitter: @vilutheril

Goodreads: https://www.goodreads.com/author/show/5622151.Michelle_E_Goldsmith

 

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Hey everyone.  One of today’s WiHM7 interviews is with Dr. Angela Slatter.  Angela is a British Fantasy Award and World Fantasy Award winning author; a Dr of Creative Writing; an incredibly kind and generous person who has been especially welcoming of n00bs like myself, ever since I stumbled into the world of writing, editing and genre fiction. Probably one my ginuwine favourite interwebz people, although legend has it she also exists on the corporeal plane… the stupendously talented Angela Slatter:

Dr-Angela-Slatter

A. Tell us a little about yourself and your background?

AS: I’ve always been a voracious reader and I’ve always scribbled, but I only made the decision to start writing seriously about twelve years ago. I didn’t want to get to the end of my life and think “Jeeez, I wish I’d given that a go.” So I threw in a high-paying job in Sydney, moved back to Queensland and started learning the writing craft from scratch. I did a Grad Dip in Creative Writing and was lucky it was a good practical program, then started an MA and produced a collection of rewritten fairy tales, all of which were published before I submitted my finished project for marking − my first sale was to Lady Churchill’s Rosebud Wristlet and the second was to Shimmer. I started a PhD, which I eventually finished, and have been consistently publishing since 2006. I’ve had six short story collections published (two with Lisa L. Hannett), there’s a seventh coming out in October 2016, and last year I signed a three-book deal with Jo Fletcher Books for an urban fantasy series − the first book, Vigil, comes out in July 2016.

Q. What draws you to horror generally, and was there a defining moment where you something mad you think “Fuck it, I’m writing a horror story!”?  

AS: I think it probably crept up on me … I read a lot of horror as a teen, a mix of Richard Laymon, Shaun Hutson, Clive Barker, and anthologies edited by Stephen Jones which brought together the likes of Kim Newman, Steve Rasnic Tem, et al. I sought out female horror writers like Tanith Lee, Flannery O’Connor, Marghanita Laski, Barbara Baynton, Mary Shelley, because I often found them more subtle and more chilling (not all the time). One of the first stories I remember writing was about a woman obsessed with books who killed someone in order to get a book that she’d been denied. Probably my first dark detour! Writing for me has been a lot of trying out different genres and styles, as well as reading a lot before I found my own voice.

When I write a fairy tale influenced piece, I’m always drawing on the old horror of the original tales. When I write a modern horror story, I’m still drawing on some inflections of horrific elements in old fairy and folk tales. I think the horror stories that I’ve written that creep me out the most are “Finnegan’s Field”, “Winter Children” and “Cuckoo” … I think they all cut very close to the bone of women’s lives.

Q. What is your favourite horror story and what about it specifically rustled your jimmies? 

AS: I’m not precisely sure what ‘jimmies’ are … if you mean scared the bejesus outta me, then there have been a few for different reasons:

I’ve said a lot of times that Marghanita Laski’s “The Tower” was the first horror story I read that I just adored coz it’s so atmospheric and filled with dread. Then there’s Barbara Baynton’s “The Chosen Vessel”, which I realise I read much earlier than the Laski, when we lived out at Longreach − I was still in primary school and the story is about the murder of an isolated woman, the wife of a drover and her child left on a property while her husband goes off shearing … I think because the story echoed the landscape I was living in it was extra disturbing. Then there’s anything by M.R. James. but particularly “Oh, Whistle, And I’ll Come To You, My Lad”. There’s Saki’s “Gabriel Ernest” and “Sredni Vashtar”. The “Wendigo’s Child” by Thomas F. Montelone gave me nightmares as a kid.

What have you written? And what is your personal favourite of your own work?

AS: Seven short story collections, two novellas, one novel, and over 150 short stories. All are listed here http://www.angelaslatter.com/publications/, but the ones that are of most interest:

  1. Sourdough and Other Stories (Tartarus Press, 2010) − shortlisted for the World Fantasy Award and Aurealis Award for Best Collection
  2. The Girl with No Hands and Other Tales (Ticonderoga Publications, 2010) − won the Aurealis Award for Best Collection
  3. Midnight and Moonshine (with Lisa L. Hannett; Ticonderoga Publications 2012) − shortlisted for the Aurealis Award for Best Collection
  4. The Bitterwood Bible and Other Recountings (Tartarus Press, 2014) − won the World Fantasy Award for Best Collection, shortlised for the Aurealis Award for Best Collection.
  5. Black-Winged Angels (Ticonderoga Publications, 2014) − shortlisted for the Aurealis Awards for Best Collection.
  6. The Female Factory (with Lisa L. Hannett; Twelfth Planet Press 2014) − won the Aurealis Award for Best Collection.
  7. Of Sorrow and Such (Tor.com novella series, 2015).
  8. Ripper (novella in Stephen Jones’ Horrorology: The Lexicon of Fear, Jo Fletcher Books 2015)
  9. A Feast of Sorrows: Stories isn’t out yet but will be out in October 2016 via Prime Books in the US, which will be my first collection specifically released in the US. It’s mostly a reprint collection, with two new novellas in it.
  10. Vigil: Book 1 of the Verity Fassbinder Series, out in July 2016, from Jo Fletcher Books in the UK and Hachette in Australia.

General points of interest:

  1. I’m the first Australian to win a British Fantasy Award (for “The Coffin-Maker’s Daughter” in Stephen Jones’ A Book of Horrors, Jo Fletcher Books).
  2. In 2014, I had three collections out and in the 2015 Aurealis Awards all three were shortlisted in Best Collection − Lisa and I won with The Female Factory.
  3. In the 2015 Aurealis Awards Shortlists, I had two entries in Best Fantasy Short Story (won with “St Dymphna’s School for Poison Girls), and one in the Best Horror Short Story (which I won with “Home and Hearth”).
  4. The Female Factory got an Honourable Mention in the Norma K. Hemming Awards.

Also: I cannot pick a favourite child. Don’t Sophie’s Choice me, dude.

Q. What are you working on at the minute?

AS: At the moment I am being squeezed mercilessly by March deadlines. I’m editing the last novella (Darker Angels) to go into the Prime collection A Feast of Sorrows: Stories (mostly reprints but with two new 20k novellas); I’m finishing the novel Corpselight, which is the sequel to Vigil; I’m working on a weird noir story for Joe Pulver, called “Dahlia Blues”; I’ve just agreed to write something else for someone else; I’ve got about four secret anthology projects that I’ve got to write stories for … and there’s a novella called The Briar Book of the Dead that either needs editing or turning into a novel … and when I finish Corpselight, I have to start writing Restoration, which is the final Verity book in the trilogy … then I have to start looking for a new three-book deal! AND I’m also doing a book of film criticism for Neil Snowdon and Electric Dreamhouse Press (an imprint of PS Publishing) this year focusing on the Karnstein Trilogy of films made by Hammer Horror.

Q. You do the odd spell of freelance editing and you certainly have the talented and skill to go down that path if you ever felt like it. Do you ever see yourself editing an anthology or other forms as a career or creative choice? 

AS: Every so often I think “Yeah, I could edit a really interesting fairy tale, mosaic world anthology” … then I go and have a lie down until the feeling passes, because I remember precisely what’s involved. Not just the sourcing stories (managing whinging from writers you didn’t contact or whose stories you didn’t accept), gladhanding and ego-massaging the writers whose stories you need to edit, dealing with contracts, printing, finding a publishing house you can rely on, getting typesetting done, commissioning cover art that doesn’t just look like a stock photo with bad font over the top, then ensuring everyone’s paid … then marketing the damned book, finding reviewers, eventually (if you’re lucky) then having to dole out royalties to authors … and all that time and stress is time and stress I could be usefully applying to my own work. So if I ever say “I’m editing an anthology” you’ll know I’ve been kidnapped and am trying to give a signal or I’ve gone mad.

Similarly, occasionally I think about writing a film script: “Hey, 90 pages, how hard could it be?” It’s fucking hard!!! That’s an art form all on its own and I am not a master of it. A mate of mine did something like four scripts (commissioned) in two months − hats off to him, the mad sod, but he did it, and he did it because it’s his field and he’s an expert at it. So, I’ll stick to what I know!

Q. Is there any quality or skill etc that makes a good horror editor, specifically? s

  • Knowledge of grammar, spelling and sentence structure. The general skills any good editor in any genre should have as well as contacts in the industry rather than just a whim/fancy to be an editor.
  • The ability to help the writer tease out the story’s best shape, NOT t he desire to make the story into the one they would have written if they’d had a chance.
  • Open-mindedness about the various forms horror can come in, so it’s not all just “Saw”, but rather things that are more subtle, a mix of light and dark, not just body horror.

Q. Who is your favourite woman writer?

AS:  Argh! How can you choose? Why would you ask me that? Why?

I love the particular subtlety a lot of female horror writers bring to their work, even though it’s that very subtlety that often causes them to be dismissed as horror writers. “There’s not one chainsaw, NOT ONE in this work, how can you call her a horror writer??” But the more subtle and insidious the tales are, the more I like them. So, I will make a list that cannot possibly be complete and some will say “They ain’t horror authors”, to which I reply “You ain’t reading them right.” Tanith Lee, Thana Niveau, Alison Littlewood, Nalo Hopkinson, Tananarive Due, Lisa L. Hannett, Nnedi Okorafor Kirstyn McDermott, Kaaron Warren, Kelly Link, Gemma Files, Damien Angelica Walters, Lisa Tuttle, Caitlín R. Kiernan,Shirley Jackson, Sarah Langan, Molly Tanzer, Silvia Moreno-Garcia, Lynda Rucker, K. Tempest Bradford, Maura McHugh, Margo Lanagan, Anna Tambour, Chelsea Quinn Yarbro …

All are women who’ll lead you in quite gently then unsettle you and then slap you in the face with some terrible thing that isn’t simply about body horror, but the actual destruction of a soul, of happiness, of love. Examples? Nalo Hopkinson’s “Greedy Choke Puppy”, Lisa Hannett’s “Forever, Miss Tapekwa County”, Tanith Lee’s “La Dame”, Damien Angelica Walters’ “Sing Me Your Scars”. And I must add Kelly Robson’s “The Three Resurrections of Jessica Churchill” as I just read it the other day and it blew me away − extremely visceral, haunting body horror very skilfully done.

Q. What book/s are you reading at present and what is in your TBR pile?

AS: The TBR pile is presenting a danger to all and sundry, but these are the ones I’ll pick out: Will Lawson’s When Cobb & Co Was King, the Audrey Niffenegger anthology Ghostly, Mary Norris’ Between You and Me: Confessions of a Comma Queen, Delia Sherman’s The Porcelain Dove, C.S.E. Cooney’s  Bone Swans, and I’m re-reading John Connolly’s Nocturnes collection as well as Dark Hollow.

Q. What challenges have you encountered that are unique to being a woman in the horror genre, or can you describe some of the challenges have you faced that are complicated by your gender?

AS: I’ve been relatively lucky, but the main ones are either dismissal on the grounds of having a lack of white penis (or indeed any penis at all) − “She can’t write horror for she has no wang!” − or reviews that smack of hurt male feels − “She’s written about awful men doing awful things to women! She must hate all men! Also: waaaaaaaaaaaaaaaaaaaaahhhh!”

Both of these things are childish and tiring.

Q. Why is Women in Horror month important? 

AS: I admit to feeling conflicted about it. It annoys me that we need it, like some kind of remedial training to remind certain readers we’re here. It feels a bit like we’re Santa Claus or the Easter Bunny: mythical creatures that people remember once a year. Remember folks: a female horror author isn’t just for Christmas, she’ll scare the crap out of you all year round.

But on the other hand I’m happy to see my fellow female horror writers highlighted and for readers to get to know work they might not naturally seek out.

Q. What advice would you give to aspiring writers?

  • Keep writing.
  • Learn your craft and never ever think you know it all.
  • Develop a thick skin, but realise that story criticism is aimed at making the story better, not at making you feel bad about yourself.
  • It’s better to have someone find problems with a story before you send it out into the world.
  • Networking is about building mutually beneficial relationships with other writers and publishers, not just about you getting what you can.
  • Don’t send Facebook friend requests to other writers and then ask them to like your page and buy your book: (a) it’s just rude and (b) other writers are not generally your audience.

 

Angela Slatter Links:

Website: http://www.angelaslatter.com/

Blog: http://www.angelaslatter.com/blog/

Facebook: https://www.facebook.com/angelaslatterauthor
Twitter: @AngelaSlatter

Amazon Author Page: http://www.amazon.com/-/e/B005QQ9FOA

Goodreads: https://www.goodreads.com/author/show/2847546.Angela_Slatter

 

 

 

website-logo

Sophie Yorkston is the extremely talented and awesome editor of SQ Magazine. She took home the Australian Shadows Award for Best Edited Publication, for SQ Mag issue #14 (IFWG Publishing). She’s quite active in the speculative ficiton scene and has several short stories of her own published. I look forward to reading more of her edited and written works!  Thanks so much for dropping by, Sophie!

SYorkston
Q. Tell us a little about yourself and your background?
SY: I’m a bit of a wanderer (my muse is too) who has lived all over the east coast of Australia. I’m also the Editor in Chief of Australian speculative fiction ezine, SQ Mag (which best of all is free!). In my day job, I’m a scientist, with a love and interest in many scientific fields, and I think that really gets into my writing.
 
Q. What draws you to horror generally, and was there a defining moment where you something mad you think “Fuck it, I’m writing a horror story!”?  
SY: I admit, I started out with horror as my first foray into the genre, somewhere between Christopher Pike and Goosebumps. My tastes evolved, but for me it’s a toss-up with exploring the dark side of supernatural beliefs or alternatively how easily humans cross the line with misguided morals. A story I’m writing at the moment is all about people responding violently to someone they perceive “deserves” it. 
 
Q. What is your favourite horror story and what about it specifically rustled your jimmies? 
SY: That’s a very difficult question to answer. I really like the stories where there’s an element of futility, in that whatever the protagonist does, they still get caught in the mire. 
 
Q. What have you written? And what is your personal favourite of your own work?
SY: My current published works include a short suspense story titled Downpour in Subtropical Suspense (Black Beacon Books). A friend of mine said it reminded him of Alfred Hitchcock’s brand of fright, and I thought that a high compliment indeed. I also have a fun story called Manuka Mischief in a kids Christmas collection from New Zealand’s Phantom Feather Press. I’m shopping to find the right home for my favourite story I’ve written. And not to forget SQ Mag, which I edit, and whose Australiana edition won the Best Edited Work in last year’s Australian Shadows Awards. Still pretty chuffed about that.
 
Q. Do you have a favourite form or media for story telling?  E.g Short story, Novel, Audio drama or podcast, audioboo
SY: My work is largely about in short stories, but I think translating them to audio formats is a great way forward. And so many are so suitable to short film as well. One of my hobbies is photography and I think there’s a lot of scope for horror in visual mediums. Horror as a genre is a gold mine, particularly in its ease of translation to many different media types.
 
Q. What are you working on at the minute?

SY: My computer and notebooks are always littered with dozens of shorts, from scrappy notes through to polished pieces striving to find a published home. I’m also chipping away slowly at a magical realism novel that was inspired by my time living in Canada.

 

Q. You’re an editor as well as a writer. Do you have a preference? 
SY: I love to write, and I was lucky enough to fall into working with SQ Mag and with IFWG Publishing (both Australian and international imprints). Editing is mostly wonderful, apart from having to deal out rejections, because it opens you up to a lot of different stories and voices. If you’re lucky, you get to work with some of the true professionals of the business and learn something. But I have to admit, my own words on a page is still a special thrill.
 
Q. What attracts you to editing the work of others? And is there any quality or skill etc that makes a good horror editor, specifically? 
SY: I’ve always wanted to help; I’ve unofficially been editing work for decades for friends. We all get too close to our work and need the help of a little perspective. I don’t know that it’s only a horror genre issue, but I think what makes you a good editor is being able to hear your writer’s voice and not overriding that, to make their story the best it can be. It also helps to read widely to know the tropes of your chosen genre, in as much as you can (only so many hours in the day and many of us have day jobs). Lastly, I have to say, because part of it means I get to know new (at least to me) writers, and do what I love (second) best: read!
 
Q. Who is your favourite woman writer?
SY: Don’t make me choose! There’s many I love for different reasons. Anne McCaffrey, Audrey Niffenegger, Margaret Atwood, Emma Newman. Their explorations of the dark ways of human relationships and interactions are a real draw for me. 
 
Q. Are there any projects involving other women that you’re looking forward to or would like to get on board with?
SY: There’s some amazingly well run publishers (who coincidentally are run by women) in Australia producing great works and anthologies; Fablecroft and Twelfth Planet for example. I’m in awe of what they’re doing. Some of the anthologies showcasing women behind the stories and at the centre are pretty exciting, like She Walks in Shadows (Innsmouth Free Press, eds. Silvia Moreno-Garcia and Paula R. Stiles), Hear Me Roar (Ticonderoga) and the Women destroying (Lightspeed & Nightmare magazine) have been great for us as readers to know who to keep an eye out for.
Q. What book/s are you reading at present and what is in your TBR pile?
SY: Oh, so many! I’m trying to diversify the voices I’ve been reading: The Three Body Problem by Cixin Liu; I’ve just finished and am reviewing Binti by Nnedi Okorafor. I’m also trying to support Australian and New Zealand writers and read and review as much as I can.
 
Q. What challenges have you encountered that are unique to being a woman in the horror genre, or can you describe some of the  challenges have you faced that are complicated by your gender?
SY: I think the greatest challenge for women in genre is that we’re silenced purely by the gender we were born into, unconsciously or otherwise. Including our experiences and our stories. Horror luckily has some excellent editors who are more egalitarian than others, who rectify that by giving equal credence on the basis of excellent writing.
 
Q. Why is Women in Horror month important? 
SY: I think it’s really important to make sure we work against a system that actively works against female writers. Particularly given we have such a wealth of talent here in Australia with internationally-recognised writers like Kaaron Warren, Angela Slatter, Margo Lanagan, and that’s just off the top of my head; there are many more excellent writers than I have named here. And for the lack of recognition of excellent writers in our own countries. 
 
Q. What advice would you give to aspiring writers?
SY: Connect up with other writers and offer to help beta read their work. You learn so much about your own work from the very first time you do it. And if you’re lucky, you end up with a great group of friends!
Plus, read, read read! (And don’t forget to review if you got any enjoyment at all!)
 
 
Website: www.sqmag.com
Book Links:

https://mail.google.com/_/scs/mail-static/_/js/k=gmail.main.en.OVq8hpf-I6w.O/m=m_i,t,it/am=PiPeSMD83_uDuM4QQLv0kQrz3n9-95FiZ889_H9vAojULwD-b_b_AP4P3pu2UA/rt=h/d=1/t=zcms/rs=AHGWq9CKi-kYNM_Rzj3abb7zTohAY_Qxkghttps://mail.google.com/mail/u/1/?ui=2&view=bsp&ver=ohhl4rw8mbn4https://mail.google.com/mail/u/1/?ui=2&view=bsp&ver=ohhl4rw8mbn4

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Simon Dewar <simon.dewar83@gmail.com>

Feb 1

to sophieyorkston

Hey,

See below … attach your approved and endorsed personal image I can post with the interveiew.  If there is anything you want me to ask or want to discuss, let me know. Now is a chance for you to have take the mic. Make my blog your bully pulpit if you like.  I might shoot back some additional questions (*if I have time) based on stuff you say.
Thanks
S.
Tell us a little about yourself and your background?
What draws you to horror generally, and was there a defining moment where you something mad you think “Fuck it, I’m writing a horror story!”?
What is your favourite horror story and what about it specifically rustled your jimmies?
What have you written? And what is your personal favourite of your own work?
(*Include books, novellas, short stories, poems, blogs, awards or anything of interest.)
Do you have a favourite form or media for story telling?  E.g Short story, Novel, Audio drama or podcast, audiobook
What are you working on at the minute?
You’re an editor as well as a writer. Do you have a preference?
What attracts you to editing the work of others? And is there any quality or skill etc that makes a good horror editor, specifically?
Who is your favourite woman writer?
Are there any projects involving other women that you’re looking forward to or would like to get on board with?
What book/s are you reading at present and what is in your TBR pile?
What challenges have you encountered that are unique to being a woman in the horror genre, or can you describe some of the  challenges have you faced that are complicated by your gender?
Why is Women in Horror month important/important to you?
What advice would you give to aspiring writers?
Website:
Blog:
Facebook:
Twitter:
Lnkedin:
Pinterest:
Amazon Author Page:
Book Links: (* American, UK, etc.)
Goodreads:
(* Any order you like and if I’ve missed anything, just type it in.)

Sophie

AttachmentsFeb 15 (2 days ago)

to me
Hey Simon,
Sorry this has taken a little while to get to you.
Hope it’s not too late!
Sophie


Date: Mon, 1 Feb 2016 21:28:05 +1100
Subject: WIHM Questions
From: simon.dewar83@gmail.com
To: sophieyorkston@hotmail.com


Hey,

See below … attach your approved and endorsed personal image I can post with the interveiew.  If there is anything you want me to ask or want to discuss, let me know. Now is a chance for you to have take the mic. Make my blog your bully pulpit if you like.  I might shoot back some additional questions (*if I have time) based on stuff you say.
Thanks
S.
Tell us a little about yourself and your background?
I’m a bit of a wanderer (my muse is too) who has lived all over the east coast of Australia. I’m also the Editor in Chief of Australian speculative fiction ezine, SQ Mag (which best of all is free!). In my day job, I’m a scientist, with a love and interest in many scientific fields, and I think that really gets into my writing.
 
What draws you to horror generally, and was there a defining moment where you something mad you think “Fuck it, I’m writing a horror story!”?  
I admit, I started out with horror as my first foray into the genre, somewhere between Christopher Pike and Goosebumps. My tastes evolved, but for me it’s a toss-up with exploring the dark side of supernatural beliefs or alternatively how easily humans cross the line with misguided morals. A story I’m writing at the moment is all about people responding violently to someone they perceive “deserves” it. 
 
What is your favourite horror story and what about it specifically rustled your jimmies? 
That’s a very difficult question to answer. I really like the stories where there’s an element of futility, in that whatever the protagonist does, they still get caught in the mire. 
 
What have you written? And what is your personal favourite of your own work?
(*Include books, novellas, short stories, poems, blogs, awards or anything of interest.)
My current published work include a short suspense story titled Downpour in Subtropical Suspense (Black Beacon Books). A friend of mine said it reminded him of Alfred Hitchcock’s brand of fright, and I thought that a high compliment indeed. I also have a fun story called Manuka Mischief in a kids Christmas collection from New Zealand’s Phantom Feather Press. I’m shopping to find the right home for my favourite story I’ve written. And not to forget SQ Mag, which I edit, and whose Australiana edition won the Best Edited Work in last year’s Australian Shadows Awards. Still pretty chuffed about that.
 
Do you have a favourite form or media for story telling?  E.g Short story, Novel, Audio drama or podcast, audiobook
My work is largely about in short stories, but I think translating them to audio formats is a great way forward. And so many are so suitable to short film as well. One of my hobbies is photography and I think there’s a lot of scope for horror in visual mediums. Horror as a genre is a gold mine, particularly in its ease of translation to many different media types.
 
What are you working on at the minute?
My computer and notebooks are always littered with dozens of shorts, from scrappy notes through to polished pieces striving to find a published home. I’m also chipping away slowly at a magical realism novel that was inspired by my time living in Canada. 
 
You’re an editor as well as a writer. Do you have a preference?
I love to write, and I was lucky enough to fall into working with SQ Mag and with IFWG Publishing (both Australian and international imprints). Editing is mostly wonderful, apart from having to deal out rejections, because it opens you up to a lot of different stories and voices. If you’re lucky, you get to work with some of the true professionals of the business and learn something. But I have to admit, my own words on a page is still a special thrill.
 
What attracts you to editing the work of others? And is there any quality or skill etc that makes a good horror editor, specifically? 
I’ve always wanted to help; I’ve unofficially been editing work for decades for friends. We all get too close to our work and need the help of a little perspective. I don’t know that it’s only a horror genre issue, but I think what makes you a good editor is being able to hear your writer’s voice and not overriding that, to make their story the best it can be. It also helps to read widely to know the tropes of your chosen genre, in as much as you can (only so many hours in the day and many of us have day jobs). Lastly, I have to say because part of it means I get to know new (at least to me) writers, and do what I love (second) best: read!
 
Who is your favourite woman writer?
Don’t make me choose! There’s many I love for different reasons. Anne McCaffrey, Audrey Niffenegger, Margaret Atwood, Emma Newman. Their explorations of the dark ways of human relationships and interactions are a real draw for me. 
 
Are there any projects involving other women that you’re looking forward to or would like to get on board with? 
There’s some amazingly-well run publishers (who coincidentally are run by women) in Australia producing great works and anthologies; Fablecroft and Twelfth Planet for example. I’m in awe of what they’re doing. Some of the anthologies showcasing women behind the stories and at the centre are pretty exciting, like She Walks in Shadows (Innsmouth Free Press, eds. Silva Moreno-Garcia and Paula R. Stiles), Hear Me Roar (Ticonderoga) and the Women destroying (Lightspeed & Nightmare magazine) have been great for us as readers to know who to keep an eye out for.
What book/s are you reading at present and what is in your TBR pile?
Oh, so many! I’m trying to diversify the voices I’ve been reading: The Three Body Problem by Cixin Liu; I’ve just finished and am reviewing Binti by Nnedi Okorafor. I’m also trying to support Australian and New Zealand writers and read and review as much as I can.
 
What challenges have you encountered that are unique to being a woman in the horror genre, or can you describe some of the  challenges have you faced that are complicated by your gender?
I think the greatest challenge for women in genre is that we’re silenced purely by the gender we were born into, unconsciously or otherwise. Including our experiences and our stories. Horror luckily has some excellent editors who are more egalitarian than others, who rectify that by giving equal credence on the basis of excellent writing.
 
Why is Women in Horror month important/important to you? 
I think it’s really important to make sure we work against a system that actively works against female writers. Particularly given we have such a wealth of talent here in Australia with internationally-recognised writers like Kaaron Warren, Angela Slatter, Margo Lanagan, and that’s just off the top of my head; there are many more excellent writers than I have named here. And for the lack of recognition of excellent writers in our own countries. 
 
What advice would you give to aspiring writers?
Connect up with other writers and offer to help beta read their work. You learn so much about your own work from the very first time you do it. And if you’re lucky, you end up with a great group of friends!
Plus, read, read read! (And don’t forget to review if you got any enjoyment at all!)
 
 
Website: 
Pinterest:
Attachments area

Sophie

12:32 PM (39 minutes ago)

to me

Hi Simon,

I was just going to email to ask if you could include a link to SQ Mag as well. http://www.sqmag.com

I also spotted some typos/mistakes in my replies–crumbs. Probably what happens if I do these things late in the evening. I’ve bolded the questions below where I made answer changes if it is at all possible to just copy paste those responses.
Thanks Simon for the opportunity. It’s been great to see all the interviews, and to see writers whose other spec fic stories I’ve enjoyed that are also horror!
Sophie

From: sophieyorkston@hotmail.com
To: simon.dewar83@gmail.com
Subject: RE: WIHM Questions
Date: Mon, 15 Feb 2016 19:21:52 +1000

Hey Simon,
Sorry this has taken a little while to get to you.
Hope it’s not too late!
Sophie


Date: Mon, 1 Feb 2016 21:28:05 +1100
Subject: WIHM Questions
From: simon.dewar83@gmail.com
To: sophieyorkston@hotmail.com

 


Hey,

See below … attach your approved and endorsed personal image I can post with the interveiew.  If there is anything you want me to ask or want to discuss, let me know. Now is a chance for you to have take the mic. Make my blog your bully pulpit if you like.  I might shoot back some additional questions (*if I have time) based on stuff you say.
Thanks
S.
Tell us a little about yourself and your background?
I’m a bit of a wanderer (my muse is too) who has lived all over the east coast of Australia. I’m also the Editor in Chief of Australian speculative fiction ezine, SQ Mag (which best of all is free!). In my day job, I’m a scientist, with a love and interest in many scientific fields, and I think that really gets into my writing.
 
What draws you to horror generally, and was there a defining moment where you something mad you think “Fuck it, I’m writing a horror story!”?  
I admit, I started out with horror as my first foray into the genre, somewhere between Christopher Pike and Goosebumps. My tastes evolved, but for me it’s a toss-up with exploring the dark side of supernatural beliefs or alternatively how easily humans cross the line with misguided morals. A story I’m writing at the moment is all about people responding violently to someone they perceive “deserves” it. 
 
What is your favourite horror story and what about it specifically rustled your jimmies? 
That’s a very difficult question to answer. I really like the stories where there’s an element of futility, in that whatever the protagonist does, they still get caught in the mire. 
 
What have you written? And what is your personal favourite of your own work?
(*Include books, novellas, short stories, poems, blogs, awards or anything of interest.)
My current published work includes a short suspense story titled Downpour in Subtropical Suspense (Black Beacon Books). A friend of mine said it reminded him of Alfred Hitchcock’s brand of fright, and I thought that a high compliment indeed. I also have a fun story called Manuka Mischief in a kids Christmas collection, The Best of Twisty Christmas Tales, from New Zealand’s Phantom Feather Press. I’m shopping to find the right home for my favourite story I’ve written. And not to forget SQ Mag, which I edit, and whose Australiana edition won the Best Edited Work in last year’s Australian Shadows Awards. Still pretty chuffed about that.
 
Do you have a favourite form or media for story telling?  E.g Short story, Novel, Audio drama or podcast, audiobook
My work is largely about in short stories, but I think translating them to audio formats is a great way forward. And so many are so suitable to short film as well. One of my hobbies is photography and I think there’s a lot of scope for horror in visual mediums. Horror as a genre is a gold mine, particularly in its ease of translation to many different media types.
 
What are you working on at the minute?
My computer and notebooks are always littered with dozens of shorts, from scrappy notes through to polished pieces striving to find a published home. I’m also chipping away slowly at a magical realism novel that was inspired by my time living in Canada. 
 
You’re an editor as well as a writer. Do you have a preference? 
I love to write, but I was also lucky enough to fall into working with SQ Mag and with IFWG Publishing (both Australian and international imprints). Editing is mostly wonderful, apart from having to deal out rejections, because it opens you up to a lot of different stories and voices. If you’re lucky, you get to work with some of the true professionals of the business and learn something. But I have to admit, my own words on a page is still a special thrill.
 
What attracts you to editing the work of others? And is there any quality or skill etc that makes a good horror editor, specifically? 
I’ve always wanted to help; I’ve unofficially been editing work for decades for friends. We all get too close to our work and need the help of a little perspective. I don’t know that it’s only a horror genre issue, but I think what makes you a good editor is being able to hear your writer’s voice and not overriding that, to make their story the best it can be. It also helps to read widely to know the tropes of your chosen genre, in as much as you can (only so many hours in the day and many of us have day jobs). Lastly, I have to say because part of it means I get to know new (at least to me) writers, and do what I love (second) best: read!
 
Who is your favourite woman writer?
Don’t make me choose! There’s many I love for different reasons. Anne McCaffrey, Audrey Niffenegger, Margaret Atwood, Emma Newman. Their explorations of the dark ways of human relationships and interactions are a real draw for me. 
 
Are there any projects involving other women that you’re looking forward to or would like to get on board with? 
There’s some amazingly-well run publishers (who coincidentally are run by women) in Australia producing great works and anthologies; Fablecroft and Twelfth Planet for example. I’m in awe of what they’re doing. Some of the anthologies showcasing women behind the stories and at the centre are pretty exciting, like She Walks in Shadows (Innsmouth Free Press, eds. Silva Moreno-Garcia and Paula R. Stiles), Hear Me Roar (Ticonderoga) and the Women destroying (Lightspeed & Nightmare magazines) have been great for us as readers to know who to keep an eye out for.
What book/s are you reading at present and what is in your TBR pile?
Oh, so many! I’m trying to diversify the voices I’ve been reading so I’m currently reading: The Three Body Problem by Cixin Liu; I’ve just finished and am reviewing Binti by Nnedi Okorafor. I’m also trying to support Australian and New Zealand writers and read and review as much as I can.

Simon Dewar <simon.dewar83@gmail.com>

12:37 PM (34 minutes ago)

to Sophie

Cool. Got it. And thankyou 🙂  You’re coming up soon… along with Ellen Datlow, Lauren Buekes and so many women my brains is turning to mush.

Good fun though.
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I haven’t posted for a while.I’m lazy, I’ve got kids, and I’ve been trying to get some stories out on submission and drum up another editing gig. These are all good reasons to not be blog posting. A good reason to be log posting is Women in Horror Month! WiHM is actually February, but the added benefit of me being lazy, is that March can now be WiHM too! YAY!

So many amazing women are doing cool things in horror. I like to think that they’re not overlooked or treated differently from male writers although I know this isn’t true. Aside from general issues relating to sexism that women face within the publishing industry (It exists, I’ve seen it first hand), they have to put up with a bizarre niche of misogynistic writers who feel that women can’t or shouldn’t write horror. I wasn’t really surprised when we had a number of idiots come out during WiHM and say bizarre and offensive things. Not only did we have an emerging author bullied and insulted, we had women in horror in general referred to as “hags” (amongst other offensive comments), and one well-known and respected author was derided as “over-rated”, “awful” and only successful because women like her and she has a large female readership (as though that is a bad thing).

These events were quite frustrating but I was heartened by the supportive response of the guys in the horror fiction community who spoke out against the few douchecanoes. I was also heartened by the response of many publishers who spoke out against this disgusting behaviour. Good on them.  This raised the issue of publisher and editor blacklists, whether they exist, and how professional they are.  Different people have different views on the matter but I think it is healthy that people are having a conversation about how to deal with issues of sexism, misogyny and general asshattery.

Many of the writers I know and respect most are female horror writers.  Whether it is established authors such as talented and lovely Kaaron Warren, the amazing Angela Slatter, or emerging writers friends of mine such as Sarah Read or Karen Runge, there are some fantastically talented women writing in the horror genre who deserve the recognition they’re attracting and the awards that they’re receiving. I’ve learned a lot from them, both in the professional aspects of writing and in the art of storytelling. I aspire to be as capable and as successful as these women. I look forward to learning more from the women in our fiction writing community and collaborating with them. I look forward to reading their fantastic stories… many of which I find more confronting or terrifying than the work written by a lot of men, perhaps because the ladies are writing from a different place.

Below are a list of 10 writers, including publications where there work may be fonud. Most of the listed publications are horror although some of the authors write in multiple genres. Among their ranks are British Fantasy Award winners, Aurealis Award winners, World Fantasy Award winners and nominees, Shirley Jackson Award winners,— and others who, I’m sure, will be receiving similar accolades in the near future! I know some of these ladies personally and have had the pleasure of working with some of them. (The list is slightly biased towards Australian writers because I’m Australian and have gone out of my way to read some fiction by Australian authors.)

Kaaron Warren – Slights, Mistification, Walking the Tree, The Gate Theory (Collection), Through Splintered Walls (collection), Nightmare Magazine.

Margo Lanagan – Tender Morsels, Sea Hearts, Blood and Other Cravings, Exotic Gothic 4, Black Juice (Collection) , Cracklescape (Collection).

Karen Runge – Shock Totem magazine, Pseudopod (podcast), Suspended in Dusk (anthology), Death’s Realm (anthology)

Sarah Read – Black Static Magazine, Suspended in Dusk (anthology), Pantheon Magazine (editor), Vine Leaves Literary Journal.

Angela Slatter – Sourdough and other stories (collection), The Bitterwood Bible and other recountings (collection), A Book of Horrors (anthology), Nightmare Magazine, The Spectral Book of Horror Stories (anthology), Weirder Shadows over Innsmouth (anthology).

Icy Sedgwick – The Guns of Retribution, The Necromancer’s Apprentice, Bloody Parchment (anthology), Suspended in Dusk (anthology).

Wendy Hammer – Pantheon Magazine, Suspended in Dusk (anthology), Cross Cutting novella trilogy (forthcoming 2015)

Nerine Dorman — Inkarna, Raven Kin [The BlackFeather Chronicles], Bloody Parchment (editor), Dark Harvest (editor), War Stories (anthology), Midian Unmade (anthology).

Felicity Dowker – Scary Kisses (anthology) Aurealis Magazine, Andromeda Spaceways Inflight Magazine, Bread and Circuses (collection), Midnight Echo Magazine.

S.G Larner – Equilibrium Overturned (anthology), Suspended in Dusk (anthology), SQ magazine, Phantazein (anthology), Bloody Parchment (anthology).