Podcasts about Black Feathers

Hi Witches Our book review on this episode is The Black Feathers by Rebecca Netley Belladonna Books Link - https://www.instagram.com/belladonnabooks?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== A look at the cat and its many associations with witches, deities, magick and mythology. Includes working with the cats energy in witchcraft and how to make and use black cat oil. My website - The White Witch Podcast  Find my witchy Patreon here for extra content and to join The Literary Witches Coven (our witchy book club) - The Witches Institute | creating Podcast episodes, Online Workshops, Grimoire Sheets | Patreon  Find my witchy zines here - https://www.etsy.com/shop/TheWhiteWitchCompany The White Witch's Book of Healing: The White Witch's Book of Healing: Weaving Magickal Rituals throughout your Craft for Sacred Healing and Reclamation of the Wild Witch Within: Amazon.co.uk: Rose, Carly: 9781914447266: Books  Lots of witchy love - Carly xx

Join Julie and me as we dive into the behind-the-scenes of birds found in big chain pet stores, share bird hacks, and offer tips for keeping your fids happy and healthy! We'll also discuss crucial topics like the impact of heavy metals on your pets, the importance of regular vet visits, and so much more! Key Points:Stories from Working at Big Chain StoresDebunking Instagram Birb mythsBird HacksInterspecies Relationships: Cats & Birds!What do Black Feathers mean?Kale Crisps and Veggie HacksHousehold Dangers and Heavy Metal ToxicityArlo's Vet VisitMakeup and Skincare Around BirdsBlack Capped Conures Bird Cage Brands & Set Up TipsSpecial Guests:Julie, @arlobirb“So many pet owners out there or people who try to buy pets are not giving their pets a good life. I've seen it all…” - Julie.  Links:https://www.instagram.com/arlobirb/ Connect with us on Instagram @theparrotpodcast

This episode was recorded on March 24th, 2024 at the Culture Center Theater in Charleston, WV. The lineup includes Duke Robillard Band, Cedric Burnside, Sam Weber, Las Cafeteras, and The Black Feathers. https://bit.ly/3UoAENn

Doc & Friar close out the spooky season with one last pair of horror books! Find the guys @⁠⁠⁠TLDR_pod⁠⁠⁠ (IG/Twitter), @⁠⁠⁠Fry_Guy1⁠⁠⁠ (Twitter) and @⁠⁠⁠BackCrackah⁠⁠⁠ (IG/Twitter) and with the rest of the ⁠⁠⁠#DORK⁠⁠⁠ shared GUniverse on Facebook. TLDR is now on YouTube and TikTok, too!

Americana, Roots, Country, Folk and Acoustic music. Featured Artists . New and classic tracks.Episode includes Thea Gilmore, Hal Cannon,Sunny War, The Black Feathers and Margo Cilker.

It turns out, a raven's black plumage works quite well in the desert. Black feathers do conduct the sun's warming rays, but they concentrate that solar heat near the feathers' surface. All it takes is a breeze from the wind, or from flying, to move all that heat away from the surface of the feathers.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.

The Sundill Radio Hour for the week of 11/07/2022 featuring: Terra Spencer “Feels Like Home” Chasing Rabbits (2020 Terra Spencer) 5:03 Julian Taylor “I Am a Tree” Beyond the Reservoir (2022 Howling Turtle) 4:32 Hannah Wyatt “Hail Mary (And Start Again)” Iron Line (2021 Hannah Wyatt) 2:46 Connor Garvey “The Man I Want To Be” Another End of a Year (2022 COGAR) 4:15 The Black Feathers “Barcelona” Angel Dust & Cyanide (2022 The Black Feathers) 3:25 Vincent Cross “A Stranger I Came” The Life & Times of James ‘the Rooster' Corcoran (2020 Vincent Cross) 3:23 Ever More Nest “This Cloud” Out Here Now (2022 Ever More Nest) 3:24 The Rough & Tumble “Hard Times (You & Me)” Single (2022 Penny Jar) 3:12 John Smith “To the Shore” The Fray Variations (2022 Commoner) 3:13 Marian Call “Highway Five” Something Fierce (2011 Marian Call) 4:30 Dave Gunning “Beyond the Day” Up Against the Sky (2019 Wee House of Music) 3:38 Tim Ball “Sage Hen Waltz” Upstate Crossroads (2022 Tim Ball) 4:13 Jake Blount “The Man Was Burning” Single (2022 Jake Blount) 2:34

Welcome to Two-Headed Nerd Episode #679: New Comic Reviews 9/7 and 9/14 ! In this episode, the nerds find themselves confronting a pile full of… Dog-shaped bipedal aliens All the Avengers getting outed (EDITOR’S NOTE: That’s NOT what that title means…) The return of the kinda sorta Midnight Suns but with a ‘U’ this time […] The post Episode #679: New Comic Reviews 9/7 & 9/14 – Boogeyman, Ten Thousand Black Feathers, Star Trek Lower Decks & MORE! appeared first on The Two-Headed Nerd Comic Book Podcast.

A candid interview on recovery with Ray Hughes, one-half of the award winnng musical duo from Wales, The Black Feathers. Holy Water https://www.youtube.com/watch?v=vx4X30YSW18 Spirit in the Sky https://www.youtube.com/watch?v=qEBIeSk7Crk The Ghosts Have Eaten Well https://www.youtube.com/watch?v=uENdf1JIp4o  

This week Kieran chats to Ray Hughs and Sian Chandler from UK based Folk/Americana crossover duo The Black Feathers. They talk about their musical background, playing together, their TradFest Temple Bar 2019 performance, the band name and so much more. Enjoy some tunes from the band too. Never miss a Note, Follow us on Social Media:FacebookTwitterInstagram

Super-black materials are blacker than black - they are so good at capturing light that almost no light escapes them. While a normal black object still reflects some light, which allows you to see the shape of the object, super-black objects appear almost shapeless. You can see this in objects covered by a human-made super-black material, Vantablack. But how do birds produce super-black colors? And why do they produce them? What can engineers learn from nature's way of making super-black? To answer these questions, I talk to Dakota (Cody) McCoy, who discovered super-black bird plumage while being a student at Yale University. Cody is currently a postdoctoral researcher at Stanford University, and she's interested in how nature have come up with clever ways to modify light, and what we can learn from nature in developing new materials. If you want to learn more about super-black feathers, head over to the show website at klaranorden.com/specimenstories.

Acompanhe a equipe do 1UP comentando o que tá rolando no mundo dos games! Torne-se um colaborador do 1UP! https://www.padrim.com.br/1up https://picpay.me/Podcast1UP Músicas: Black Feathers in the Sky, Kid Ikarus: Uprising OC Remix by MkVaff.https://ocremix.org/remix/OCR04200Adabat’s Sunset Speedway, Sonic Unleashed OC Remix by Faseeh, Joshua Kruszyna.https://ocremix.org/remix/OCR04198Kevin MacLeod (https://incompetech.filmmusic.io/)Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Joining us on this week's Sheer Isolation is Brian Keen - one of the West's longest-serving sound engineers. Bri has been part of Swindon's music scene for years, and spent several years hosting a local music show on Swindon 105.5 with our very own Jon. In this two part interview, we go back to the seventies when Bri was first starting out in the music industry, his time spent at Island Records working with upcoming artists who went on to become the household names, going on tour with Ultravox, and how technology has changed the role of the sound engineer as we've moved from requiring tonnes of machinery to needing just a laptop with a studio app. On the music front we have a brand new track from Devizes grunge act Gary Martian, and Bri picks a tune from one of his favourite acts, Cirencester Americana duo, The Black Feathers. Meanwhile, Kieran has another rant about the latest idea from the PRS, and shares the news of his first gig of the year. This episode was created by Kieran Moore in Trowbridge and Jon Ponting in Cricklade. Musicians are very welcome to send us videos to feature as well as any news or gigs - virtual or otherwise - sheerisolation@gmail.com

In this episode, Cecilia Tan reads her amazing story: Lip Service. Cecilia Tan "simply one of the most important writers, editors, and innovators in contemporary American erotic literature," according to Susie Bright. For over 25 years she has been writing erotic fiction and promoting BDSM community activism. RT Magazine awarded her Career Achievement in Erotic Romance in 2015, she's a member of the Saints & Sinners LGBT Writers Hall of Fame, and she has a stack of leather and BDSM community awards, including the Pantheon of Leather President's Award, the NLA: International Lifetime Achievement Award and the NLA Woman of the Year. She is the founder of Circlet Press and the author of many books, including the ground-breaking erotic short story collections Black Feathers, the erotic BDSM romance Slow Surrender, and the Magic University series. Her short stories have appeared in Ms. Magazine, Nerve, Best American Erotica, Asimov's Science Fiction, and tons of other places. She identifies as a bisexual bigender switch and wants you to know, in case you didn't, that trans women are women no matter what a billionaire British fantasy novelist wants you to think.  Part way through, you will hear an advertisement for the Licking Non Vanilla Podcast with M. Christian and Ralph Greco Jr. An Interview with Cecilia Tan can be found at Dr Lori Beth Bisbey's https://www.patreon.com/user/posts?u=3974989 (Patreon) for Patrons... Support this podcast

This is one of my favourite pieces of erotica and the title piece in a chapbook written by Cecilia Tan. I was pleased to gain permission from her in order to read it. Cecilia Tan is "simply one of the most important writers, editors, and innovators in contemporary American erotic literature," according to Susie Bright. For over 25 years she has been writing erotic fiction and promoting BDSM community activism. RT Magazine awarded her Career Achievement in Erotic Romance in 2015, she's a member of the Saints & Sinners LGBT Writers Hall of Fame, and she has a stack of leather and BDSM community awards, including the Pantheon of Leather President's Award, the NLA: International Lifetime Achievement Award and the NLA Woman of the Year. She is the founder of Circlet Press and the author of many books, including the ground-breaking erotic short story collections Black Feathers, the erotic BDSM romance Slow Surrender, and the Magic University series. Her short stories have appeared in Ms. Magazine, Nerve, Best American Erotica, Asimov's Science Fiction, and tons of other places. She identifies as a bisexual bigender switch and wants you to know, in case you didn't, that trans women are women no matter what a billionaire British fantasy novelist wants you to think.  Support this podcast

The very first Sheer Isolation Podcast with Kieran Moore and Jon Ponting. In this half hour the two of us learn how to podcast, introduce ourselves to the masses, talk about how musicians have been turning to online streaming because of Covid-19 and play you some cracking music from Ducking Punches, Ben Marwood, The Black Feathers, Joe Edwards and The Lost Trades. The Sheer Isolation podcast is being produced weekly to promote the music scene in Wiltshire and the West of England. It's created by Kieran Moore (Sheer Music) and Jon Ponting (4014 Project; The Late Gig). We send our thanks to all musicians who've allowed us to use their tracks in this show. Musicians and artists are very welcome to send us content (it doesn't have to be music)... sheerisolation@gmail.com

The wonderful fellas from Butter were in the studio this week. Guitarist Aaron, bassist Tom, and drummer Jarrett make warm-but-glossy pop gems with juuuuuust the right amount of funk, soul, and electronic accoutrement - a sound that is, impossibly, great for both dancing AND long, contemplative walks. We talk musical growth, their excellent 2019 joint "Nicotene," and, yes, bodily fluids. Butter is gearing up for a return to the studio, but you can catch up and keep up with them at their website, butter.band, or on bandcamp. Music this week: "Freakout!" by Butter (3:16)"Honest Man" by Doubleplusgood (17:34)"Already Told You" by Swatkins & the Positive Agenda (31:40)"Pistol Hand" by Deaf Dog (43:30)"The Deck" by Black Feathers (64:29)"Bloody Road" by KOGNITIF (76:50)

EP 6 feat Brenda Castles, The Kane Sisters, The Lost Brothers, The Black Feathers, Christine Sisk from Culture Ireland, Inni K, David Keenan, Kern and many more fine examples of Trad Without frontiers pumping out to you from Temple Bar, Dublin, Ireland. Recorded at Oliver St. John Gogarty's Pub!

Ep5 featuring The Black Feathers, The Conifers, Eleanor McEvoy, ZoDoMo, The Gloaming and The Russell Memorial Weekend in Doolin. Presented by Kieran Hanrahan & Ruth Smith. Recorded at The Temple Bar. Produced by Donal Scannell from Born Optimistic for The Temple Bar Company.

Tradfest Ep 2 feat. Ré, Zoe Conway & John McIntyre, The Young Folk plus reviews of Phelim Drew, Steeleye Span, Susan O'Neill, Cua, Friel Sisters, Kane Sisters, Seana Davey & Stephen Doherty, The Once, Black Feathers, Carlos Nunez, Loah, Sive, Ailbhe Reddy and The Conifers - presented by Kieran Hanrahan and Ruth Smith. With special thanks to the Oliver St.John Gogarty pub in Temple Bar, Dublin Ireland. Produced by Donal Scannell of Born Optimistic for Tradfest.

Air date: 11.04.18 Interview with RHOC Gina Kirschenheiter as well as musician James House and The Blues Cowboys and an interview with musical group The Black Feathers.

The Black Feathers, made up of Ray Hughes and Sian Chandler, are two such talents. They first became aware of the magic between them while collaborating on several musical projects, becoming The Black Feathers and life partners in 2012.https://theblackfeathers.com

The Black Feathers, made up of Ray Hughes and Sian Chandler, are two such talents. They first became aware of the magic between them while collaborating on several musical projects, becoming The Black Feathers and life partners in 2012.

The esteemed Ellen Datlow has chosen to speak with me for reasons yet unknown. I am humbled and honored. Her website states these achievements with more clarity than I ever could: "Ellen Datlow has been editing science fiction, fantasy, and horror short fiction for over thirty-five years as fiction editor of OMNI Magazine and editor of Event Horizon and SCIFICTION. She currently acquires short fiction for Tor.com. In addition, she has edited more than a hundred science fiction, fantasy, and horror anthologies, including the annual The Best Horror of the Year, Lovecraft’s Monsters, Fearful Symmetries, Nightmare Carnival, The Doll Collection, The Monstrous, Nightmares: A New Decade of Modern Horror, and Black Feathers. Forthcoming are Haunted Nights (with Lisa Morton), and Mad Hatters and March Hares (stories inspired by Alice’s Adventures in in Wonderland and Through the Looking Glass and What Alice Found There). Award-Winning Editor of More Than 100 Anthologies Ellen Datlow has won multiple World Fantasy Awards, Locus Awards, Hugo Awards, Stoker Awards, International Horror Guild Awards, Shirley Jackson Awards, and the 2012 Il Posto Nero Black Spot Award for Excellence as Best Foreign Editor. Ellen Datlow was named recipient of the 2007 Karl Edward Wagner Award, given at the British Fantasy Convention for “outstanding contribution to the genre,” was honored with the Life Achievement Award by the Horror Writers Association, in acknowledgment of superior achievement over an entire career, and honored with the World Fantasy Life Achievement Award at the 2014 World Fantasy Convention." http://datlow.com/ Twitter: @EllenDatlow https://www.facebook.com/EllenDatlow https://www.birdscoffeecompany.com/coffees/legends-of-tabletop-legendary-brew Use Code Legends10 to get 10% off your order Theme music created by Brett Miller http://www.brettmillermusic.net/

Hey class!  Welcome to our very first Horror Pod Class Extra Credit Episode, where we take the opportunity to interview professionals from the horror genre.  Today, we are talking with the incomparable editor Ellen Datlow.  Ellen has a brand new theme anthology out right now named The Devil and the Deep: Horror Stories of the Sea.  We talk with Ellen quite a bit about the new collection and you can also read our review over at Signal Horizon.   Here are some Amazon affiliate links to the just released and upcoming books we talk about today: The Devil and the Deep: Horror Stories of the Sea   The Year's Best Horror Volume 10   Echos: The Saga Anthology of Ghost Stories   Signal Horizon:  For fiction readers who might not know, how important is a good editor and what techniques do you use to help authors craft a powerful story? Ellen Datlow: Well, that's kind of complicated.  First of all I don't read unsolicited manuscripts anymore.  So what I see is usually from people who I have worked with before or I know they are professional writers already and they know the basics of writing.  When I buy a story I work with a writer to basically make sure what they want to say is on the page.  So I ask a lot of questions when I am editing.  I think it is important for writers to have an editor because we are going to help you not stumble.  I consider myself as an editor, the ideal reader.  When I am looking at material I am going to help you see what missteps you might make or have already made.  My job is to help you rewrite, or revise, to get those those mistakes out of the manuscript.  And that's not copy editing, that's different.  We aren't talking about punctuation and grammar necessarily, we are talking about consistency in tone, consistency, of course if I notice words or phrases repeated I will make note of those and say "are you sure you repeat this 5 times?"  There are certain words that writers repeat a lot and with computers you can see them really easy.  Once one jumps out at me, like that or just or but, and then you can look it up and see that there are 200 buts in your 20 page story, get rid of most of them.  If you can, and that might mean you have to rewrite the sentence or cut out something.  so basically my job is to make good stories become great stories, hopefully.  Or really good stories even better.  That's kind of what I feel my job is.   Signal Horizon:  So I got a chance to read an advance copy of your newest anthology, The Devil and the Deep: Horror Stories of the Sea.  It was great, I was super impressed.  Its 15 new horror stories all with a nautical theme.  I'm really interested in the creative process you use when you come up with a theme for a new anthology and what was it like for this one in particular? Ellen Datlow:  First I pitched it to my editor that I have worked with on The Best Horror of the Year, and he liked it, it was the first original anthology that Nightshade has bought.  Sometimes the in house editor, the publisher, wants to know who you are going to try to get to write.  I don't remember if I got them the names in advance, but once we agree on a contract and it is in process I will solicit the writers.  Writers whose work I like, writers whose work might be perfect for the theme.  I'll contact them and ask them if they are interested and give them a broad outline of what I am looking for or what I am not looking for.  For the sea horror, I said I want all kinds of seas, oceans, by the sea, and even inland seas.  As you might have noticed we have an inland sea story, by Brad Denton, that takes place in the desert out in the west.  It was a former sea and so there is no actual water in the story, but I encourage writers to do that.  Basically, they have about ten months to write a story, if its a new anthology.  Over time I will periodically poke them and ask them how the story is going.  For every anthology I do I ask about a third more writers than I need because usually a third drop out for whatever reason or I don't like the story.  I keep pushing and asking how is the story coming and if writers say "what story?" then I say, hey I need a story now! Or, I need it in three months!  Sometimes they say, I can't do it or I tried, I don't have any ideas or I'm too busy.  Sometimes they send me a story and I just don't think it works.  Through the whole process as the stories come in I judge, what do I have?  What do I need?  Are too many stories similar to each other?  At that point you start contacting the authors who havn't sent anything in yet and say, I don't want any more of this or that.  So thats basically how it works, some people don't buy the stories until they have all come in, I buy them as they come in.  If there is a substantive edit I will do that before I buy the story.  That means if I think that is good and I like it, but I think it need work I won't commit to buying the story until the writer fixes it.  Then I let them sit, it usually not until about two months before I have to hand in the anthology that I start doing the line edits.  I try to start with the earlier stories, the ones I bought first, so I have had time to digest them.  Then I do the line edit where I do a line by line reading to make sure that everything seems to be in its place.  Every line is comprehensible, there is no "I don't know what you are talking about here" kind of thing.  I do the final line edit, then I have to figure out the order of the stories, usually I do that when I get all the stories in.  Thats kind of when you balance and see what you've got.  You try to balance the reading order so that the reader will enjoy it, but the thing about putting a table of contents together is that there is no guarantee that anyone is going to read it front to back.  Editors have to assume you will, because there is nothing else we can do.  The first and the last stories are the most important, the first you want to be inviting to get the reader into the anthology.  You don't want to make it too complicated.  You want to show this what the book is going to be about, so the first story is really important because you don't want to turn the reader off.  The last story is usually the one that the editor thinks is the most powerful.  Either that or sometimes I do a grace note, I put the really strong story second to last, usually a longer one, and then the last story is a shorter one that has a little punch to it.  Thats the basics of putting together an original anthology for me, then I write the introduction.  That usually comes from the proposal, I usually add to the proposal and that becomes the introduction.   Signal Horizon:  So I heard that when you solicited some of your past anthologies you will also come out with, "I don't want this".  In Children of Lovecraft I think it was no pastiche, no tentacles.  In the Doll Collection it was no Chuckie style murderous dolls.  Was there anything with the with the the Devil and the Deep that you didn't want? Ellen Datlow:  Well I didn't want to concentrate on sea monsters.  I'm trying to remember I don't really think I did.  I was pretty vague on that, for that one there didn't seem to be any obvious things to avoid.  I said I wanted horror rather than dark fantasy but other than that no.  I think that's an usual one because I don't think that the sea has been over done. The problem is with a lot of theme anthologies is that you've seen the theme and the specific types of stories on the theme over and over again. That's when you have to make sure and clarify this is what I don't want, but I don't think there has been that many sea horror anthologies so I didn't have that problem.   Signal Horizon:  One of the stories that just really stood out to me was Michael Marshall Smith's short story, "Shit Happens." I think it was legitimately one of the funniest short stories I've I've ever read and I'm dying to ask: did you know that you were going to get something that funny when you when you ask them to contribute?   Ellen Datlow:  I had no idea.   This is one of my faves too because it is funny and I usually hate funny horror.  But it works beautifully and also I love the secretary or the assistant,  she is that the fixer. I want her to have her story she's great. I forget her name but it's like oh my god I know that you've got to do more with her in the future.  Michael doesn't usually write funny but this was very funny.   Signal Horizon:  So I I know better than to ask what your favorite story from the collection is, but are there any you want to highlight that really stand out from this collection?   Ellen Datlow: It's difficult to do.  That one, but also "Haunt" which is the last one in the anthology and I it the one by Siobhan Carroll.  I put that last because I thought it was really powerful I don't want to give too much away, but it's about a boat stranded in calm water.  I forget what century it is in, maybe the nineteenth century.  I don't remember, but it's not our contemporary time.  I think it's horrifying from it's based on.  Some of the incidents in the story are real, I mean they are historically accurate.  It is just horrendous but you know it's hard to describe without giving away spoilers but that's one that I thought was a really strong story.  And of course Michael's.  I found Stephen Graham Jones' story very peculiar, I mean it's also very humorous in it's weird way.  It's about a young guy, I don't remember if he's a teenager a little older than that, but he's stranded on a desert island and things start washing up that he believes he wished for.  Be careful what you wish for because you might get it is the kind of moral of that.  It's got its mute amusing bits too, but Stephen is a really powerful writer and this is actually one of his quote unquote "lighter pieces" I think. He's very good crime writer and he's very good at dark and horrific material.  I don't you know it's like picking a favorite child.   Signal Horizon: I know it is it is difficult to talk about "Haunt."  Once I read it I wanted to tell everybody about it but it's it's difficult to talk about it without giving too much about it away.   Ellen Datlow:  The information will diminish its power.    Signal Horizon: Exactly, yeah I think one of the most powerful pieces of of short fiction I've read in in in a long time. So, you previously said that the story order, well we already talked about that.     Ellen Datlow:  But I didn't talk about things other than beginning and the ending.  You judge by various things, by the tone, the point of view, where story takes place, and how long it is.  I mean the length of the story to try to very them.  You don't want like three really long stories in a row.  Sometimes if one story is complicated and really difficult or hard to take you might put that in the middle or two thirds the way through because you want to have your readers get used to the rhythm of the book  You want them not to be slapped in the face too much until they're ready for it.  So you put a difficult, complex, or offensive, or maybe a provocative one you put that later on.  You don't put that first thing.   Signal Horizon:  I was also struck by the by the diversity of of all the of all the stories and it seems like it's a it's a real balancing act you to make sure they have a wide enough appeal and to keep the reader interested but the same time ensuring that there is a common element there that runs through the anthology.  How much of that is credited to work do you do?  Either who you solicit or how you polish them once they come in and how much of it is just kind of kind of good fortune I guess?   Ellen Datlow: It's both it depends on the anthology.  Like when I did my Poe anthology, I didn't want all of them to be House of Usher stories.  There were three stories that were kind of House of Usher stories in a way but they were different from each other. What I would do is before people wrote this story is I would say what are you writing about? I wanted them to write about one of Poe's pieces of poetry or prose. Even essays too, Glen Hirshberg wrote the Pikesville Buffalo based on short news item I think that Poe had written or read.  So it depends on the anthology.  This new one is good because it's not based on anything specific.  So I didn't have that problem. In that I was was lucky, but at a certain point you have to see how much is left, see what's coming in and if you see that everything's about a certain thing you have to steer people away from certain things.  In my Black Feathers anthology, several people have pointed out that there are quite few stories about crows and ravens. It's like well yeah because those are really popular birds!  So once you realize you've got three stories about ravens you say okay no more crows and ravens. Other birds now.  It depends on the anthology, what I did for my Alice in Wonderland anthology Mad Hatters and March Hares, is I asked each writer what you can about right about before they wrote. What creature going do, what aspect are you going to write about? To get the best variety it could. They're not meant to be retellings of events in Alice in Wonderland.  So the editor has to direct so you don't get all the same stories. Signal Horizon:  Writers are are pretty pretty open to that kind of that kind of direction? Ellen Datlow: Well, if you tell them straight out, yes.  If you tell them from the very beginning what you want to write about. I don't want to know the plot I don't want to know every detail, I just want to know what you are going to write about.  In Devil and the Deep I know Brad Denton came to me and asked me if it is okay to write the story that has no water in it. I said I asked for an inland sea story, sure go ahead. So that is the one that is the most far out there, thematically.  There is no sea in that story but it takes place in a former sea and there is a boat.  If you want to guide your anthology, then yes you have to have some input.  Some editors will give them strict assignments and say I want this or that.  I'm not that way I'm not a writer.  Those are usually editors who are also writers.  I'm not a writer, I do not have ideas. I do not want to give my ideas to the authors I want them to create their own stories and I will work with them to make the story better.  So I give guidance but I would never give them the plot line Signal Horizon:  So I saw I saw a couple weeks ago that the cover art and table of contents for The Year's Best Horror Volume ten is out.  The cover art as always is is amazing and the lineup for this year looks pretty strong. It's it's due out this summer so what are your overall impressions of that this year's line up? Ellen Datlow: Well I realize I have more women writers than ever before. Its almost even, which is unusual.  There is a substantial increase in female voices in the last twenty years and certainly the last five years.  That's been increasing and I'm finding that fabulous.  I'm gratified to see that there are women writers getting they're due coming out and writing really great stories.  I'm currently working on the best of best, which the best of the first ten years of the book.  So I am going through early volumes and I'm writing notes.  I'm not taking any stories that were in Nightmares, which was the Tachyon anthology that had the idea of the best of anew decade a modern horror.  It was like stories that I thought were really terrific from 2005-2015.  It was a sequel to my Darkness: Two Decades of Modern Horror. I'm not using any of the stories from Nightmares, which restricts me a tiny bit.  Obviously I love the stories in that anthology but I didn't want to use them again.  Its also a juggling act to pick three or so stories from each of the ten volumes.  I'm trying to get take stories that aren't over reprinted.  Things that have been reprinted only one or two times, but that is hard because over the years people have put out single author anthologies and reprint anthologies.  That's what I'm busy doing right now, but I thought last year was very strong. I always find at least twice as many stories as I can actually use. Last year's volume is a hundred thousand words which is I think the biggest I've done and I'm happy with all the stories.  I think they are great.   Signal Horizon: So when you do the Year's Best what does your workflow look like I mean?  Are you like constantly reading throughout the entire year?   Ellen Datlow:  Yeah, although I haven't really officially started for this year yet because of the Best and Best.  I will probably by the end of this month be deep into reading for this Year's Best. It's like a never ending thing. I do more work to the best of the year, not even a complaint but I do more work for the Year's Best compare to any other anthology and I get paid the least, because they are all reprints. I have people who are reading electronic magazines for me.  Something like light speed which doesn't have that much horror.  There's more and more material to read every year. Every year it they're more anthologies coming out and I always find out after the fact when it's too late. Sometimes I miss out on anthologies because the publisher doesn't send to me. I went to a con recently and it was in the dealers room and there was a publisher that had like 3 anthologies out that were published in 2017. I said you never said this to me and they said who are you?  What kind of publisher hasn't heard of the Year's Bests?  Not just mine but others.  They should be doing this to help the writers get recognition.    Signal Horizon: You know way better than me that the publishing industry has changed significantly in in the span of your career.  Right now there's a lot of really good horror coming out of very small presses.   Ellen Datlow:  Yes, right.  Well very few large presses will publish collect single other collections. A few do, but it is usually to promote or go along with a novel they are publishing.  I've been mostly with medium size and large publishers who publish my anthologies. It started with desktop publishing, and now because it's even easier with computers and everything. Writers can self publish, but it doesn't mean they should. Writers think that they should just go their work out there and someone will see it, but the problem is unless you have a following to begin with it's very hard to get anyone's attention. So in a sense things have changed, but they haven't changed that much. You still need to get your work out there and have people see or you are not going to make any money.    Signal Horizon: From my own point of view what I think one of the one of the values of the year's best horror is not only do you get all these great stories but that you also get exposed all these authors that you might not have they have read before. Sometimes you can you can pick up an author you never heard of and then you find that they have a novel and they have all these other short stories and you can really get engaged that way. Another part that I really like is that is your introductions are super detailed about what the state of the industry is is that year.    Ellen Datlow:  Well thanks, gratifying. I mean, don't love doing the summary but I take notes. I do it as I as I read I take the notes, so it's an ongoing process through the whole year.    Signal Horizon:  So I I know that you're always super tight lipped about your next themed anthologies but what other kind of things are you working on right now?    Ellen Datlow:  I'm not working on anything right.  For 2 years I worked on a huge ghost story anthology that this coming out October from Saga Books called Echoes.  It is over 200000 words so I have been working on that.  I haven't had time to sell anything else right now. In a way I feel free, I don't feel under as much pressure as usual which is kinda nice.   Signal Horizon: I really appreciate you coming on and sharing some of your knowledge with us.   Ellen Datlow:  Yeah, its been a pleasure and it's been a lot of fun.   Signal Horizon: So okay class where the big takeaways? Well if you are a  publisher make sure Ellen gets your stuff! That's the only way that you and your authors are going to get into the year's best. If you are a reader made sure you check out new anthology The Devil and the Deep, its fantastic and as always The Year's Best Horror Volume 10 is going to be is gonna be great.  So make sure you go out and pre order some Ellen's books and maybe even go to a real life brick and mortar store and buy a couple of them. Until next time, class dismissed.

An interview with Ellen Datlow, editor of CHILDREN OF LOVECRAFT, BLACK FEATHERS, and many other books. A very interesting discussion! Ellen talked about her time at OMNI, how a writer gets on her radar, her work as a consulting editor at Tor.com, tropes she sees too much, and more. With panelists S.P. Miskowski, Matthew Carpenter, Kelly Young, and me, Mike Davis. Like the show? Tell us! Email lovecraftezine@gmail.com 

Marcy Arlin teaches Theater for Social Change at Pace University and is artistic director of the OBIE-winning Immigrants' Theatre project and is a Fulbright scholar to Romania and the Czech Republic. She is a long-time member of BSFW, Theater Without Borders, Broad Universe, and her work has been published in Daily Science Fiction, Perihelionsf.com, Broad Universe Sampler, and Man.In.Fest theater journal. Marcy has several more short stories out there and is working on a sci-fi murder mystery. Author Richard Bowes has published six novels, four story collections and over eighty short stories. He has won two World Fantasy Awards, a Lambda Award, a story South Million Writers Award, and an International Horror Guild Award. His most recent novel, Dust Devil On a Quiet Street, was on the 2014 World Fantasy and Lambda short lists. A new edition of his 2005 novel, From The Files of the Time Rangers, a Nebula finalist, will appear later this year from Lethe Press. Last year, his 9/11 story, "There’s A Hole In The City," got a very nice review in The New Yorker. Recent and forthcoming appearances include: Fantasy Magazine's Queers Destroy Fantasy special issue, Interfictions, Nightmare, Grendel Song, and the anthologies The Doll Collection and Black Feathers. He is currently writing stories that will be chapters in a novel about life as a gay kid in 1950’s Boston. Bradley Robert Parks lives, writes, and performs in and around Brooklyn, NY, where he founded the Brooklyn Speculative Fiction Writers (BSFWriters.com). His passion for writing blossomed while growing up in a family of genre readers. While he's been pursuing writing for a while, the crazy energy of NYC and BSFW have given him the focus and motivation to finally get published. His stories have appeared on BuzzyMag.com and on the Kaleidocast podcast. He also sings and narrates stories when time permits. Along with these achievements, he's obtained one husband, Michael, and Insanity Anne Magoo (best cat ever). Keep up with his exploits on Facebook or at BradleyRobertParks.com.

Host Peter Darbyshire talks to Canada's answer to Stephen King, Robert J. Wiersema about his new book Black Feathers, why stories are like religion to him and why he’s tattooed lines of literature on his body.

Brandi is Going to Hell will make you uncomfortable, laugh, and have other weird feelings. Host Brandi Lukas comments on pop culture, talks about sex, and interviews bands.Going to HellSeptember 29, 2014 Going to Hell on Olio.fm returns after its summer vacation with episode 9! Guest-host Mike L. joins Brandi for a rousing discussion of..well, a lot of things. The duo starts with a Quickies segment covering the latest from Brandi’s OkCupid account, which then leads to the Eccentric Scoops segment. In this segment, the duo plays and discusses a Freddie Mercury sing-a-like, and Mike presents 10 Ways That Men Can Be Irresistible to Women, where Brandi confirms, disagrees or provides additional input. Next, Brandi and Mike introduce the Sit on My Face segment where the two discuss why men store naked selfies of girlfriends and past girlfriends on external hard drives, and Brandi shares a weird bar tale from this weekend. Lastly, Brandi interviews Rob Lindgren of Philly's lo-fi electro rock trio Revolution, I Love You for her First Date segment of Going to Hell. Lindgren recaps the band’s set at the Dewey Beach Music Conference and shares some insight on their new album Black Feathers, due in 2015. Brandi also has silly rapid-fire questions for him, where you’ll find out what stripper name the electro rock frontman would rep. Follow Brandi:http://brandiisgoingtohell.comhttps://www.instagram.com/brandilukashttps://twitter.com/brandilukashttps://www.facebook.com/brandiisgoingtohell See acast.com/privacy for privacy and opt-out information.