Podcasts about march hares

Writer Kazuo Ishiguro and jazz musician Stacey Kent talk about collaborating on their new book of lyrics, The Summer We Crossed Europe in the Rain.What's the significance of the hare in art and mythology? To mark the season of the March hare, writer Jane Russ, sculptor Sophie Ryder and musician Fay Hield explain.And following the British Board of Film Classification's update to their guidance, film critic Larushka Ivan Zedah and professor of film Ian Christie ask what age ratings mean for audiences and film-makers. Presenter: Shahidha Bari Producer: Julian May

Tim Kasher returns for a special episode about The Good Life's Album of the Year. We talk about Zooming with Conor Oberst on bad wifi, his upcoming tour, his high school band March Hares opening for 311, Tim's Red Hot Chili Peppers horoscope theory, Inmates, early 2000s Saddle Creek albums about substances, Cursive, debauchery and heartache, Tim loves musicals, I get a little emo about the seasons, Vanessa Carlton, Ryan Fox's slide guitar, creating albums in a world made for songs, The Good Life's website SEO, and what next? JOIN: patreon.com/afterthedeluge -- Tim: https://www.instagram.com/timkasher The Good Life: https://thegoodlifemusic.com/ Me: ⁠https://twitter.com/routinelayup⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/afterthedeluge/message Support this podcast: https://podcasters.spotify.com/pod/show/afterthedeluge/support

This week's guest is Tim Kasher. In addition to fronting legendary Omaha emo outfit Cursive, Kasher can be heard in The Good Life and on his four solo albums. Over the course of his nearly-30-year career, he's toured extensively, put out some downright incredible records that have reshaped the genre and has influenced countless musicians along the way. Before any of that, Kasher was a high school kid cutting his teeth as the guitarist in a little-known Nebraska band called The March Hares. A few months removed from the release of his fourth solo album, the outstanding Middling Age, Kasher spoke with My First Band host Tyler Maas about the new record and accompanying tour, his approach to songwriting, his Patreon page, and the upcoming vinyl reissue of Domestica on 15 Passenger. Over the course of the conversation, Kasher talked about the musical influence his elder siblings had on him, starting out on a Cascio keyboard before taking up guitar, performing at bonfires and bars with The March Hares and Slowdown Virginia, some of his favorite experiences with Cursive and The Good Life, and much more! My First Band is sponsored by Mystery Room Mastering, Lakefront Brewery and Music Go Round Greenfield. The show is edited by Jared Blohm. You can listen to My First Band on iTunes, Stitcher, Spotify and wherever else you get podcasts. You can also listen to rebroadcasts of previous My First Band episodes on WMSE every Wednesday from noon to 12:30 p.m. CST. Music used in this episode comes courtesy of Devils Teeth ("The Junction Street Eight Tigers") and Tim Kasher ("I Don't Think About You").

At the core of every mind numbing horror, there is a joke waiting for its time to shine. I dare you not to laugh out loud when listening to Kris Dikeman's perfectly paired story (read it with wine for the spit take), and Sam Schreiber takes you on a noir whodunnit with a werewolf too curious for his own good. "A Singular Event, In Several Courses" by Kris Dikeman, Read by Mary Boughey Kris Dikeman lives and works in New York City. Her stories have appeared in Lady Churchill’s Rosebud Wristlet, Beneath Ceaseless Skies, Strange Horizons, Analog and Mad Hatters and March Hares, among other places. She is currently at work on a novel about carnivorous plants. You can read more of her work at her website: www.krisdikeman.com. A career performer and storyteller, Mary Rodgershas acted in plays, musicals, television and film and was the lead singer/keyboardist for an all-women's rock band for a number of years. She is also a published novelist and screenwriter, with a focus on near-future science fiction, contemporary romance and fantasy. "Homo Homini Lupis" by Sam Schreiber, Read by Paul Karle Sam Schreiber is a writer living in Brooklyn, where he teaches science fiction and fantasy at New York University’s Tandon School of Engineering. He is an active member of the Brooklyn Speculative Fiction Writers as well as an associate member of Science Fiction Writers of America. Paul Karle is an actor living and working in New York City.

Chris Skinner gives us an insight into the March mating madness of the local hares!

Ellen Datlow -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). https://ellendatlow.com/

I had the pleasure of talking with Ellen Datlow again for a second interview, this time live on the radio! Ellen Datlow -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). https://ellendatlow.com/

On this episode of The Medium Matters, we cheer the sunshine, warm weather, flowers in bloom and birds in song with Ostara, the Spring Equinox.  A time of year named after Eostre, the goddess of spring, it's the season for celebrating the rebirth of the earth and all things new.   Want to hear about March Hares pregnant with two litters at once, a serpent shadow that descends a pyramid and laugh as we compare ourselves to hibernating squirrels?  Grab your sunscreen and tune into another subscribe-worthy episode of The Medium Matters.  You'll be glad you did. Can't get enough of The Medium Matters?  Follow the show on Twitter, Instagram, Patreon and our website for extra goodies and behind-the-scenes fun.    Still not enough?  Check out the show's sister content on YouTube's So Shantel channel for even more behind-the-scenes goodies.     Want to do what The Medium Matters does?  Visit our Amazon store and shop our everyday favorites including books, crystals, sage and so much more.   The Medium Matters is available on all major podcast apps.  Listen, subscribe and be sure to leave a rating and review for this and other podcasts. Hosted By: Shantel  Guest: Marie Rose

It's March and hares are running wild all over the place, with national media running scare stories about the future of Derby County's points tally, ownership and management. What better time to take stock and refocus - with this month's special panellist, Jamie Thrasivoulou, the poet behind the brilliant 'We Are Derby'.

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/

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 ninety science fiction, fantasy, and horror anthologies, including the annual The Best Horror of the Year, The Doll Collection, Black Feathers, and Mad Hatters and March Hares.   Forthcoming are The Devil and the Deep: Horror Stories of the Sea and Echoes: The Saga Anthology of Ghost Stories. She's 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. Datlow was named recipient of the 2007 Karl Edward Wagner Award, given at the British Fantasy Convention for "outstanding contribution to the genre," and has been honored with the Life Achievement Award by the Horror Writers Association and by the World Fantasy Convention.   She lives in New York and co-hosts the monthly Fantastic Fiction Reading Series at KGB Bar.  More information can be found at www.datlow.com, on Facebook, and on Twitter as @EllenDatlow. Show Notes: The Complete Fairy Tales by Oscar Wilde Irving Stone The President's Lady Nancy Drew Note: At the 18:11 minute mark, Lisa's voice has a terrible echo; at the 20:04 minute mark, Mackenzie's voice echoes. The issue doesn't repeat throughout the rest of the episode, so bear with us!  Echoes: The Saga Anthology of Ghost Stories, coming November 2018 "Shit Happens", by Michael Marshall Smith, in The Devil and the Deep anthology "Haunt", by Siobhan Carroll, in The Devil and the Deep anthology Stephen Graham Jones "Broken Record" in The Devil and the Deep anthology Mongrels Poe: 19 New Tales of Suspense, Dark Fantasy, and Horror Inspired by Edgar Allan Poe Kirkus article that Ellen mentions: "How Ellen Datlow and the Authors of The Devil and the Deep Created Your Next Great Read" Jaws Santa Barbara Museum of Natural History: Sea Center Sir John Tenniel -- Alice in Wonderland illustrator Angela Slatter Genevieve Valentine Seanan McGuire Priya Sherma Yan Svankmajer's Alice (1988) Dreamchild (1985) Gods, Monsters, and the Lucky Peach by Kelly Robson

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.

Rajan and Devin sit down with esteemed editor, Ellen Datlow, to talk about editing, movies, horror, and doll heads.  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, The Doll Collection,, The Monstrous, Nightmares: A New Decade of Modern Horror, Black Feathers,  Haunted Nights (with Lisa Morton), and Mad Hatters and March Hares (stories inspired by Alice’s Adventures in Wonderland and Through the Looking Glass and What Alice Found There). Forthcoming are The Devil and the Deep: Horror Stories of the Sea, Echoes: The Saga Anthology of Ghost Stories, and The Best of the Best (covering the first Ten volumes of the Best Horror of the Year series). She’s 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. 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. She lives in New York and co-hosts the monthly Fantastic Fiction Reading Series at KGB Bar. More information can be found at www.datlow.com, on Facebook, and on twitter as @EllenDatlow.

The following audio was recorded live on December 18, 2017 at the KGB Bar as part of the Mad Hatters and March Hares reading*, with guests Richard Bowes, Kris Dikeman, Matthew Kressel, Genevieve Valentine, Ysabeau Wilce, and Katherine Vaz. About the anthology Master anthologist Ellen Datlow presents: Mad Hatters and March Hares: All-New Stories from the […]

It's our monthly top picks episode! Today, Adam and Jill discuss the December books they are most excited to read.    Books Mentioned in this Episode Persepolis Rising by James S.A. Corey Fire on Ice by Oregonian Staff We'll Sleep When We're Old by Pino Corrias The Clothes Make the Girl (Look Fat)? by Brittany Gibbons The Doomsday Machine by Daniel Ellsberg Love, Janis by Laura Joplin Elmet by Fiona Mozley Es by Koji Suzuki The Last Black Unicorn by Tiffany Haddish Glass Town by Steven Savile  The Only Girl in the World by Maude Julien Strangers in Budapest by Jessica Keener A Lady in Shadows by Lene Kaarbelbol The Last Suppers by Mandy Mikulencak House of the Sleeping Beauties by Yasunari Kawabata Improv Nation by Sam Watson Mad Hatters and March Hares by Ellen Datlow The Stinky Cheese Man by John Sciezka   Say Hello! Find OverDrive on Facebook at OverDriveforLibraries and Twitter at @ProBookNerds. Email us directly at professionalbooknerds@overdrive.com Music "Buddy" provided royalty free from www.bensound.com Podcast Overview We're not just book nerds: we're professional book nerds and the staff librarians who work at OverDrive, the leading app for eBooks and audiobooks available through public libraries and schools. Hear about the best books we've read, get personalized recommendations, and learn about the hottest books coming out that we can't wait to dive into. For more great reads, find OverDrive on Facebook and Twitter.

  In a world of Alices, Hatters and Queens of Hearts, March Hare finally gets his due this week on Alice Is Everywhere. Review March Hare’s role in Lewis Carroll’s masterpieces Alice’s Adventures In Wonderland and Through The Looking Glass. Learn the origin of the phrase “mad as a March Hare.” Recap famous March Hares from […] The post All March Hare All The Time appeared first on Alice Is Everywhere.

This isn't just about basketball, although if you've made a bracket, you'll be happy to know you're probably doing better than Emily, who picked her winning team based on a comfy T-shirt. This episode's wine: Hess Select 2013 Cabernet Sauvignon from Napa County, California This episode's cheese: Farmhouse English cheddar with Italian truffles (not chocolate truffles) and Wensleydale English Cheese Find us on Snapchat | Twitter | Facebook Extras, including bloopers and extras from this episode, can be found at classylittlepodcast.com/show-notes/32 While our main focus for this episode is about the NCAA, we make sure to throw a few segments in for those who are subjected to hearing office workers talk about scores, brackets, seeds, etc., without a care about what's going on. James gives us some of the history and explains rankings used in determining what colleges get into the coveted championships. Find out the likelihood (or lack thereof) you'll pick a perfect bracket. Hint: You have a better chance of winning Mega Millions and an even better chance of getting struck by lightning. Emily gives us a drinking game that we highly encourage you not to play before operating heavy machinery or driving. In fact, just sit back, watch a few games with a glass of wine, and let the college students (who should be in class!) do the game playing. To get completely away from basketball, Emily talks about actual March Madness, including the madness associated with March Hares, and goes off on a tangent about the history of Mad Hatters from her birthplace of Danbury, Conn. Lots of fun facts to take to your next tea party in Wonderland. As customary for James, controversies surrounding the NCAA make their way onto the show, and Emily devises a plan for a VA-type establishment for college basketball players. (Emily for President 2016, perhaps?) Also, big shout out to Danbury, Conn., where Emily grew up, and she couldn't help going on a tangent to talk about the history of the city and how it relates to March Madness, in a very divergent way. Why do we get so obsessed with March Madness and rankings? Simply because, as James will tell you, ranking and judging things is fun! For another type of March Madness, a guitar shop in Maryland is currently having a competition, ranking the greatest guitar riffs of all time.  Emily finds some fun facts about brackets, in general, including the fact Slate.com has brackets to rank marital spats, ad slogans and movie deaths, for example. Even if you're bracket has already been crushed when you listen to this, there's always next year -- especially for Emily, who finally knows what a Seed number means. Featured promos: Pure Orgasmic Love Afterburn 739 Find more great podcasts on Twitter by searching the hashtag #PodernFamily! And, check out Emily's appearances on The Geek Yogurt Podcast and the World of Ro podcast last week! Special thanks to our classy sponsors on Patreon: Debt Shepherd, PodUnderground & Jason Bryant. Special thanks to Adam Centamore for his book, "Tasting Wine & Cheese: An Insider's Guide to Mastering the Principles of Pairing," which inspires us to try new wine and cheese pairings in every episode! Cheers!