Podcast appearances and mentions of siobhan carroll

We are thrilled to be sharing with you the show that we have on our latest Whisper in the Wings from Stage Whisper. On this episode we welcomed creator Hayley Spivey, and welcomed back performer Siobhan Carroll, who stopped by to talk about their new show, Mab. This is a fascinating piece, and the conversation was so wonderful. So make sure you tune in, and get your tickets while they last for this fabulous intimate show!MABApril 11th- April 13th@ Site Specific in Crown Heights (Details to follow after ticket purchase)Tickets and more information are available by direct messaging @nextminguteproductionsAnd be sure to follow our guests to stay up to date on all their upcoming projects and productions:Next Minute Productions: nextminuteproduciotns.com and @nextminuteproductionsHayley: hspivey.com and @hay_lyly Siobhan: @siobhan_carroll

On this brand new Whisper in the Wings from Stage Whisper, we are so excited to bring you a brand new work coming to the Tank called, Friends & Lovers & Others. And to talk to us about this new production, we have the actress/producer, Imogen Finlayson, and the director/producer, Siobhan Carroll. Be sure to tune in for a fantastic conversation, and get your tickets now for this wonderful new show! Next Minute Productions PresentsFriends & Lovers & OthersDecember 6th- 10th@ The TankTickets and more information are available at thetanknyc.orgAnd be sure to follow our guests to stay up to date on all their upcoming projects and productions:nextminuteproductions.com and @nextminuteproductions

Dr. Sinéad O'Donnell, Consultant Microbiologist, and Siobhan Carroll, CEO of ACT for Meningitis, discuss the signs and symptoms of meningitis.

Real Lives: Please Listen & ACT for Meningitis This week I speak to the amazing Siobhan Carroll about her beautiful […]

We've come to the end of season 4 and of our long journey, Hill Heads. I've overridden the safety protocols and my finger rests on the Horror Hill Kill switch. After that, I will open the blackout curtains on my studio window and allow the first rays for the morning sun to fall upon my impure flesh and end this horrid existence, freeing my soul from the bonds of living death. Remember back in the day, we used to have a vampire who worked CTFDNs? Yeah, that guy. Remember when cursed me with undeath. It's on the network somewhere. Ashes to ashes, dust to dust. However, before I say my goodbyes to the night, I have a little story for you. This one comes from talented Horror Hill newcomer and fellow Delawarean, Siobhan Carroll. And that's it. After the last line is read, Horror Hill will be gone forever…. until season 5. Shall we? To watch the podcast on YouTube: http://bit.ly/ChillingEntertainmentYT Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: https://bit.ly/HorrorHillPodcast If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: https://bit.ly/HorrorHillPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Sharifah and Jenn discuss the Shadow and Bone teaser trailer, CJ Cherryh, recent adaptation news, and sci-fi/fantasy novelettes. Subscribe to the podcast via RSS here, Apple Podcasts here, Spotify here. The show can also be found on Stitcher here. To get even more SF/F news and recs, sign up for our Swords and Spaceships newsletter! News Shadow and Bone Teaser Trailer CJ Cherryh wins 2021 Heinlein Award [Locus] Watchmen writer Stacey Osei-Koffour to write Blade remake [Black Girl Nerds] Idris & Sabrina Elba developing Afrofuturist series for Crunchyroll [The Slanted] Redwall Adaptation Happening [AV Club] Books Discussed Locus Reading List “If You Take My Meaning“, Charlie Jane Anders (Tor.com 2/11/20) “The Transition of Osoosi“, Ozzie M. Gartrell (Fiyah Winter ’20) “For He Can Creep” by Siobhan Carroll  “Omphalos” by Ted Chiang (Exhalation) See omnystudio.com/listener for privacy information.

This episode is dedicated to the memory of Brian Robert Middlemiss (20 July 1930 - 5 June 2020). David and Perry talk about the shorter fiction nominees for the 2020 Hugo Awards, and then take the Hugo Time Machine back to 1962, when Stranger in a Strange Land won Best Novel. Dedication to Brian Middlemiss (03:26) Awards season (00:46) Nebula Awards (01:40) Locus Awards (02:10) Hugos 2020 Short Fiction (00:41) Hugo Voting Package (01:16) Novelettes (14:56) Away With the Wolves by Sarah Gailey (01:23) For He Can Creep by Siobhan Carroll (01:35) Emergency Skin, by N.K. Jemisin (02:09) The Blur in the Corner of Your Eye by Sarah Pinsker (01:58) The Archronology of Love by Caroline M. Yoachim (02:49) Omphalos by Ted Chiang (04:42) Short Stories (11:24) Blood Is Another Word for Hunger by Rivers Solomon (01:02) And Now His Lordship Is Laughing by Shiv Ramdas (01:49) As the Last I May Know by S.L. Huang (01:21) A Catalog of Storms by Fran Wilde (01:31) Ten Excerpts from an Annotated Bibliography on the Cannibal Women of Ratnabar Island by Nibedita Sen (02:06) Do Not Look Back, My Lion by Alix E. Harrow (03:24) The Hugo Time Machine~1962 (01:01) Special awards (02:26) Handbook of Science Fiction and Fantasy~Donald Tuck (01:31) Novels (29:28) Second Ending by James White (03:32) Dark Universe by Daniel F. Galouye (04:06) Planet of the Damned by Harry Harrison (03:10) Time Is the Simplest Thing by Clifford D. Simak (05:16) Stranger in a Strange Land by Robert A. Heinlein (13:03) Short Fiction (12:06) Status Quo by Mack Reynolds (01:49) Lion Loose by James H. Schmitz (01:24) Scylla's Daughter by Fritz Leiber (01:31) Monument by Lloyd Biggle, Jr. (02:32) Hothouse series by Brian W. Aldiss (04:26) Other categories (02:12) Windup (01:20) Photo by Bill Kasman on Flickr

This episode is dedicated to the memory of Brian Robert Middlemiss (20 July 1930 - 5 June 2020). David and Perry talk about the shorter fiction nominees for the 2020 Hugo Awards, and then take the Hugo Time Machine back to 1962, when Stranger in a Strange Land won Best Novel. Dedication to Brian Middlemiss (03:26) Awards season (00:46) Nebula Awards (01:40) Locus Awards (02:10) Hugos 2020 Short Fiction (00:41) Hugo Voting Package (01:16) Novelettes (14:56) Away With the Wolves by Sarah Gailey (01:23) For He Can Creep by Siobhan Carroll (01:35) Emergency Skin, by N.K. Jemisin (02:09) The Blur in the Corner of Your Eye by Sarah Pinsker (01:58) The Archronology of Love by Caroline M. Yoachim (02:49) Omphalos by Ted Chiang (04:42) Short Stories (11:24) Blood Is Another Word for Hunger by Rivers Solomon (01:02) And Now His Lordship Is Laughing by Shiv Ramdas (01:49) As the Last I May Know by S.L. Huang (01:21) A Catalog of Storms by Fran Wilde (01:31) Ten Excerpts from an Annotated Bibliography on the Cannibal Women of Ratnabar Island by Nibedita Sen (02:06) Do Not Look Back, My Lion by Alix E. Harrow (03:24) The Hugo Time Machine~1962 (01:01) Special awards (02:26) Handbook of Science Fiction and Fantasy~Donald Tuck (01:31) Novels (29:28) Second Ending by James White (03:32) Dark Universe by Daniel F. Galouye (04:06) Planet of the Damned by Harry Harrison (03:10) Time Is the Simplest Thing by Clifford D. Simak (05:16) Stranger in a Strange Land by Robert A. Heinlein (13:03) Short Fiction (12:06) Status Quo by Mack Reynolds (01:49) Lion Loose by James H. Schmitz (01:24) Scylla’s Daughter by Fritz Leiber (01:31) Monument by Lloyd Biggle, Jr. (02:32) Hothouse series by Brian W. Aldiss (04:26) Other categories (02:12) Windup (01:20) Click here for more information and links Photo by Bill Kasman on Flickr

Siobhan Carroll was born and raised in Bloomfield, New Jersey just outside of New York City. She is the middle of three daughters, born to Irish Catholic, New Yorkers.  Siobhan attended Catholic schools her entire life including Villanova University in Pennsylvania.  After one “ill-conceived semester at Seton Hall Law School” she moved to Washington, D.C.  During her 20 years in the DC area, her world changed, significantly.  14 years ago she married her husband Marc.  Marc and Siobhan are very proud parents of 3 daughters.   I am intrigued by Siobhan’s ability to have a “pulse” on everything.  This interview was “waaay” too much fun.  She is so amazing, heart-warming, and smart too. I’m honored to share her story with all of you.  There’s no doubt in my mind that this will be one of those “edge of your seat” experiences, for all.  We are delighted to have Siobhan, Marc, and the girls as part of the 12 Oaks family, for the past 11 months and hopefully, many more to come.   In This Episode: [02:01] Welcome Siobhan Carroll our 10th “P” in the pod[cast]. She has spent her entire life, developing skills in pursuit of proprietorship. [02:49] Siobhan has realized the formula to success is reading the customer right and leveraging the talents of subject matter experts.    [04:44] Lucky for all of us 12 Oakers, Siobhan, Marc and the girls moved to 12 Oaks 11 months ago.   [06:29] She was born and raised in Bloomfield, New Jersey and describes this experience as fun.      [07:44] She spent a lot of time on her bike and played outside until the lights came on. [08:37] Siobhan learned the value of education from her parents.  [10:34] She was instilled with the belief if you work hard, learn, and you continue to have curiosity about the world around you, you are setting yourself up for success down the line.   [13:24] She loved her time and had a blast at Villanova.  She is also a huge college basketball fan.   [15:28] Siobhan shares the story about when her and her friends camped out for basketball season tickets.   [18:08] Law school felt like the right path for her based on a number of things.  [19:14] For many different reasons, she decided to leave law school, start working at a temp agency and she never looked back.   [20:12] She had a variety of careers in her pursuit to proprietorship.   [20:19] In terms of the work ethic that was instilled in her by her family, it is hard for her to think of a time when she didn’t have a job.  Early on in her life she became the lawn mower of the family.   [21:12] In high school she transitioned from a well-loved babysitter to working at McDonald’s.  [22:21] During her time at McDonald’s she learned how to make delicious fries of course, but she also learned the basics of the customer service...needs and other skill sets that really helped transfer over to the rest of her career.   [24:26] The other thing she really learned at McDonald’s is how other people think and how their experience(s) wasn’t the same as her’s.      [25:45] Siobhan started waitressing at an Italian restaurant in Bloomfield.  The most fascinating people she has ever met have been chefs.   [27:44] She learned very early on when to let things roll off her back and when to push back and put her foot down.   [28:16] You will always come across people in your life who you don’t agree with, who don’t treat you well, who don’t like you, or who you don’t like and in some way you have to find a way to either get along with them or contain and move along in your life, away from those sort of folks.   [30:23] At Blackboard, Siobhan managed higher education accounts mostly in the states.    [32:44] She chose to move on from Blackboard and try some other things.  Her friendship with Sarah persisted and then she came back to Blackboard a few years later.   [35:36] Siobhan and Marc were not finding the new home they wanted and when they came to visit her sister-in-law and they decided to look around and found 12 Oaks.   [35:57] 12 Oaks has a lot that is very attractive as well as the high tension wires which made her feel right at home.  [36:48] Driving through 12 Oaks reminds her of the Truman Show.  It is a beautiful neighborhood with great amenities.   [37:16] Siobhan shares how she got into the Wine and Beer business.   [38:37] She loves that wine has the ability to bring people together.   [40:12] At the new member orientation back in August there were many people interested in forming a new, additional Wine Club.  [42:15] The Wine Club has been a great way to get to know people and a great way to get out of the house.   [43:24] She doesn’t like to complain, instead she likes to contribute something that is going to be constructive. [44:27] Siobhan feels that if she has a conversation with someone and has not learned something she has really missed out.   She has a curiosity around people, society, who we are and where we are going, plus a continued curiosity about how things work.  [46:25] Siobhan loves social media and feels like it is a great distraction.   [48:49] She does like new experiences, but she needs to feel a certain element of control. [52:04] Middle children are usually referred to as the diplomat, because you are usually between two strong personalities and are trying to negotiate and figure out how you can get what you want out of the situation.   [54:01] Being around people is what she needs, but she also tries to give it back as much as humanly possible.   [54:38] Siobhan shares the story about how her and Marc met.   [57:13] She loves hanging out with her girls a lot.  All three of them are curious and fun kids.   [59:04] One of the main things she has learned from her girls is their love for nature.  [59:53] Siobhan shares the story about their recent animal excursion at the farms.  [60:40] She hates snakes and has been blessed with Nora who is obsessed with all reptiles and amphibians.   [62:57] She shares about her love for cooking.  [65:09] When her first daughter was born she decided to buckle down and learn how to cook and she loved it.  She loves cooking baked meals and having people over.   [67:46] She loves exposing her kids to new things and they love helping her cook.    [67:30] What are you most proud of? [69:24] What would be a surprise that most people wouldn’t know about you? Links and Resources: 12 Oaks Community Website Team Anderson Realty Bloomfield, NJ where Siobhan was born and raised: https://en.wikipedia.org/wiki/Bloomfield,_New_Jersey Irish Catholic New Yorkers: https://en.wikipedia.org/wiki/Irish_Americans_in_New_York_City Siobhan’s 1st Job outside of home (post the newspaper route days): https://en.wikipedia.org/wiki/McDonald%27s Middle child personality traits: https://www.rd.com/culture/middle-child-traits/ Villanova University: https://www1.villanova.edu/university.html Silver Spring, Maryland: https://en.wikipedia.org/wiki/Silver_Spring,_Maryland Blackboard: https://en.wikipedia.org/wiki/Blackboard_Inc. Just Fun Facts about Wine: http://justfunfacts.com/interesting-facts-about-wine/ Siobhan and Marc’s 1st date: https://en.m.wikipedia.org/wiki/Dude,_Where's_My_Car%3F

Mario nos habla hoy de cuatro relatos cortos completamente diferentes: "Alone with the Stars", de David R. Gillham; "Cut and Run", de Ben Acker y Ben Blacker; "For He Can Creep", de Siobhan Carroll; y "Red as Blood and White as Bone" de Theodora Goss. Y en El Rincón del Comic, Mario comenta el tercer volumen de Transformers: Lost Light, serie escrita por James Roberts.

Siobhan Carroll joins the podcast to introduce us to the idea of atopia, guiding us through modern globalised spaces, natural environments hostile to humanity and the connections between them. We discuss The Martian and Gravity as explorations of atopic space and as responses to contemporary anxieties about globalisation. Utopian Horizons is a podcast about utopia. Each episode covers a different utopia, dystopia, utopian thinker, or utopian movement, asking what they can tell us about ourselves, our society, and our future. Music: The Fiction of Utopian Studies/The Road To Oceania by The Fucked Up Beat.

Thanks for joining us again at The Horror Pod Class, today we are doing something a bit different for us... best of the year lists!  We are going to be walking you through some of the absolute best podcast episodes of the year and the best horror short fiction.  So let's jump in!  The Horror Pod Class Facebook Group Signal Horizon on Facebook and Twitter Helpful links: Podcast Episodes Video Palace, a Shudder Original Podcast PseudoPod 618: Goblins by Orrin Grey Nightlight S01 E08: The Comet by W.E.B. De Bois Books in the Freezer interview with Grady Hendrix This Is Horror interview with Kurt Fawver Pseudopod #594 Mysterium Tremendum by Laird Barron and read by Jon Padgett Pseudopod #590 Emperor All by Evan Marcroft and narrated by Kris Straub The Horror of Nachos and Hamantashen Episode 102 - H.P. Lovecraft: Against the World, Against Life This is Horror 193- Jon Padgett and Matt Cardin Talk Vastarien Sophomore Lit 54: Haunting of Hill House Guardian by Paul Michael Anderson- Tales from the Lake volume 5 The Convexity of Our Youth from The Dissolution of Small Worlds by Kurt Fawver No Exit by Orrin Grey in Lost Highways Anthology Lola: A Love Story Steven Shlozman from See the Elephant Issue 4 Archibald Leech the Many-Storied Man by John C Foster in the Lost Films anthology. Flesh Without Blood by Nadia Bulkin from Ashes and Entropy Haunt by Siobhan Carroll from The Devil and the Deep This Cosmic Atrocity by Andrew Novak in The Lost Films Anthology The Cats of River Street (1925) by Caitlin R. Kiernan in her latest collection Dinosaur Tourist Gods in Thier Seats, Unblinking by Kurt Fawver in Vastarien Issue #1  

The following audio was recorded live at the KGB Bar on September 19, 2018, with guests Patrick McGrath and Siobhan Carroll.  ​   Patrick McGrath Patrick McGrath is the author of nine novels, including Asylum, an international bestseller, and Spider, which David Cronenberg filmed from McGrath’s script. He has also published three collections of short […]

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.

In this podcast The Outer Dark presents two panels: ‘Rise of Weird Fiction' at WorldCon 75 (Helsinki, Finland) featuring Helen Marshall (moderator), Siobhan Carroll, Hal Duncan, Shivaun Hoad, Pete Sutton, and ‘The Weird in Weird Fiction' from Fantasycon 2017 (Peterborough, UK) featuring Phil Sloman (moderator), Stephen Laws, Tim Major, Helen Marshall, Alistair Rennie, Paul Woodward. … Continue reading

"Flash Fiction: “Eden Rose” by Jay Lake & Ruth Nestvold ("Tales of the Rose Knights" #7, originally published in Daily Science Fiction.) When the Rose Knight Graham Thomas first fell in love with Eden Rose, he knew the two of them would not have an easy time of it. He was a Yellow Rose of the old guard in the service of the Sun, while she was a White Rose, a servant of the Moon, her colors white and the faintest pink blush. The Sun and the Moon had long been at war, but in the way of youth, Eden and Graham knew that their individual fates would be strong enough to overcome history. Jay Lake lived in Portland, Oregon until his death in 2014, shortly before his 50th birthday. His books include Kalimpura from Tor and Love in the Time of Metal and Flesh from Prime. His short fiction appeared regularly in literary and genre markets worldwide. Jay was a winner of the John W. Campbell Award for Best New Writer, and a multiple nominee for the Hugo and World Fantasy Awards. In 2015, he posthumously received the... See acast.com/privacy for privacy and opt-out information.

Flash Fiction: “Genie from the Gym” by M.K. Hutchins (Originally published at Daily Science Fiction.) First Wish: I wasn’t stupid. Someone had abandoned that lamp in the gym locker room for a reason. I thought about just wishing to lose weight, but the genie might vaporize my arm or something to meet that requirement. So I wished that I could lose weight. Overnight, chocolate disappeared from the world. Anyone attempting to bake cookies would open their ovens to find cold, crisp slices of cucumber. M.K. Hutchins is the author of the YA fantasy novel Drift and numerous short stories. She often draws on her background in archaeology when writing. Find her at mkhutchins.com.   A Look Back at Genre History... See acast.com/privacy for privacy and opt-out information.

Saturday 3 March, 2012. An informal talk with artist Sun Xun and Collective's Programme Manager, Siobhan Carroll. Translation by Chi Zhang. For his first solo exhibition in Scotland, Sun Xun created a new, wall based work for Collective, exhibited with seven animations. Hangzhou-based Sun Xun studied printmaking at the China Academy of Fine Arts before establishing his own animation studio, Pi, in 2006. Duration: 43:15

Saturday 3 March, 2012. An informal talk with artist Sun Xun and Collective's Programme Manager, Siobhan Carroll. Translation by Chi Zhang. For his first solo exhibition in Scotland, Sun Xun created a new, wall based work for Collective, exhibited with seven animations. Hangzhou-based Sun Xun studied printmaking at the China Academy of Fine Arts before establishing his own animation studio, Pi, in 2006. Duration: 43:15