Publication News for January

My first full-length novel, The Red Eye, will be released soon from Alliteration Ink. Exact dates and details TBD, but I’m really pleased with the process, the book, the cover art, and the entire experience.

Over the past few months, I’ve been posting a lot of reflections on several pieces of horror literature. Those were part of a course I was taking in Seton Hill University’s MFA program in Writing Popular Fiction. I’m delighted to say that my final project for that course—a horror story featuring an off-the-beaten-path monster—was recently accepted for publication in Mocha Memoir Press’ The Grotesquerie, an anthology of female horror writers. I’m very excited and especially grateful to all those who read drafts and gave me great advice on how to make it the best story it could be.

I have another release coming up this year so far, a vampire story with a twist entitled “Method Writing,” which will appear in Static Movement’s anthology Night Hunters. Fellow writers will perhaps enjoy that one. I’m also working on a prequel to The Red Eye, and again I have to give kudos to my SHU classmates and mentors for helping whip that piece into shape.

I don’t have anything else out at markets at the present time, but I’ve lately been thinking about whether one of my unpublished novels is actually urban fantasy or if it’s secretly paranormal romance. That may change what markets I pursue. I never thought of myself as a romance writer. Then again, I never thought of myself as a horror writer, and yet I’ve published over a dozen horror stories and a novella. In fact, I’ve had more horror accepted than any other genre I write, and the genre I think of as my primary (science fiction) has been my least-published to date. Much of my work straddles the line between horror and fantasy, but I’ve never actively tried to market something as primarily romance. In many ways, genres are getting fuzzier, more specialized, and less meaningful. A good story is a good story, and that’s always what I aim to write, including those elements that I feel make sense for the plot and characters. If those elements are comedic, horrific, fantastical, or romantic, then so be it. Publishers obviously think more in terms of what their readers are drawn to, of course, and therein lies the trouble with more experimental, cross-genre work.

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