Interview with Paul Kane

Today we’re joined by Paul Kane – author of the recently published Monsters collection (Alchemy Press), the novella Flaming Arrow (Abaddon Books), and the upcoming Sherlock Holmes and the Servants of Hell (Solaris Books) –

 Tell us a little about yourself and what you like to write.

My name’s Paul Kane and incredible as it might seem, especially to me, I’ve been writing professionally now for almost twenty years. In fact, SST publications are bringing out a ‘Best of’ collection next year to mark the event called Shadow Casting, which will feature stories that have won awards, been in ‘best of’ anthologies and made into film/TV. I’ve written everything from genre journalism, which is where I cut my teeth, to Comedy, Crime and Science Fiction – technically, my best known books are SF as they’re post-apocalyptic reworkings of the Robin Hood mythos. But at heart I’m a horror writer, I guess. In terms of the formats I like to write in, as well as shorts and novelettes, novellas and novels, I absolutely love scriptwriting – TV and movies, but also more recently graphic novels. I wrote a 100 page one of those over the summer and had a blast.

What was the first horror story you read and what kind of impact did it make on you?

I don’t know if you could call it horror, and it was read to me at an early age before I started reading it over and over myself, but the story was Enid Blyton’s ‘The House in the Fog’. It’s a weird little tale where this boy gets lost in – surprise, surprise – some fog and wanders into this mysterious house where strange things happen. I remember him growing a furry tail at one point, which I suppose was my first exposure at a tender age to Body Horror. I just couldn’t get enough of that story, and kept pestering my granddad to read it to me again and again. I’d say that was largely responsible for putting me on this path towards writing imaginative stories myself.

Which authors have influenced you?

Oh, all kinds – way too many to list here. I went through a period growing up of reading everything SF, Fantasy, Crime and Horror related – which I call my ‘real’ education. I absolutely adore the Dune books by Frank Herbert, Ray Bradbury’s writing and Arthur C. Clarke. Colin Dexter was my go-to guy for crime growing up – the Morse mysteries were superb. And of course people like Tolkien for fantasy… In terms of horror, the authors who had the most impact on me during this period were James Herbert, Stephen King, Anne Rice, Ramsey Campbell, Shirley Jackson, Richard Matheson, Graham Masterton – the usual suspects in other words. Then later, people like Neil Gaiman, Christopher Fowler, Poppy Z. Brite, Simon Clark, Michael Marshall Smith – I could go on all day.

But the author who has influenced more than any other and continues to do so is Clive Barker. Anyone who knows me and my work will understand the importance of him and his fiction, his plays, his films and artwork. Clive’s Books of Blood came along at just the right time for me, and were a revelation – if you’ll pardon the expression. They blew me away! Their range and scope, and just the beauty of the writing. Then I read ‘The Hellbound Heart’ and saw Hellraiser, and the die was pretty much cast. I’m very lucky in that over the years Clive has become a friend and I’ve worked with and for him on a number of projects – just last year I had the pleasure of adapting ‘In the Hills, The Cities’ into a motion comic script – and not many people get to say that about the people they read and loved during their formative years.

Monsters from Alchemy Press is your 10th print collection and contains stories that cover a career of almost twenty years of publishing.  What is it about the short fiction form that appeals to you?

I started off writing shorts when I first seriously started to think about sending out fiction to markets, because I think it was that old chestnut of not having enough confidence in a longer piece. The novels I had tried to write when I was about fifteen, sixteen were absolutely terrible; I still have some of them and they’re a source of constant amusement. So I suppose I was taking baby steps with the shorts, using them to find my feet and my voice, which I eventually did. It’s funny, because they’re a completely different beast to novels, and yet a lot of writers use them as a stepping stone to longer fiction…

But anyway, they’ll always have a special place in my heart because they’re what got me the attention initially, and I do still love to write them, especially in-between novels or novellas. I think one author once said – it might even have been Stephen King – it’s like the difference between a kiss and a full blown relationship, and that’s true for a reader and a writer. Shorts also allow you to experiment a little more without worrying too much if it doesn’t work out; you haven’t wasted too much of your time if they don’t. They also let you explore lots of different aspects of life in various ways, using an assortment of techniques, which you might not be able to do in a novel because you’re trying to keep this whole juggernaut going and on track.

Which of your short fiction are you most proud of?

That’s a tough one, because it’s like asking you to choose between your children. I suppose I’ll go with the ones that other people liked the most: the award-winning ‘A Chaos Demon is for Life’; ‘Rag and Bone’ which appeared in The Mammoth Book of Best New Horror; ‘The Weeping Woman’, which was turned into a short film… All three are in Monsters coincidentally, and the limited edition hardback comes with a free DVD of that movie, directed by award-winner Mark Steensland, starring Fright Night’s Stephen Geoffreys and with music from legendary Fulci-collaborator Fabio Frizzi.

And are there shorts by other writers that have stuck with you?

Definitely, but again too many to list. However, I will mention ones like: Chris Fowler’s ‘Hated’ from the collection Flesh Wounds, about a man who is on the receiving end of a hate curse; Simon Clark’s ‘The Burning Doorway’ in which a crematory attendant sees figures get up and create a door to paradise inside a furnace; Robert Shearman’s ‘Mortal Coil’ where everyone is told when and how they will die; Ray Bradbury’s ‘The Homecoming’ about monsters at Halloween, which influenced my recent short ‘Michael the Monster’ from A Darke Phantastique; Neil Gaiman’s retelling of The Three Billy Goats Gruff ‘Troll Bridge’; a bit of cheat as it was in the anthology we edited, Hellbound Hearts, but Sarah Pinborough’s ‘The Confessor’s Tale’; and then of course a Clive one – and I’ll go with ‘Human Remains’ here, as that’s always stayed with me since I first read it. The perfect meditation on what it means to be human and how we should be grateful to be alive in the first place. As I say, there are tons of others, but we’d be here all year.

You’ve also recently published Flaming Arrow, the fourth contribution to your Arrowhead series in Abaddon’s Afterblight world – what was it like returning to the series and what can we expect from this new instalment?

That came about after the omnibus edition of the three Arrowhead novels – Hooded Man – sold out of its first print run incredibly quickly. It coincided with me thinking about what might have happened to the characters I wrote about a few years down the line, and so when new Abaddon editor David Thomas Moore dropped me a line and said did I want to pen a new novella in that universe, I already had a story half-forming in my mind and jumped at the chance. It was actually a little like slipping on a pair of comfortable slippers again, because I’d already written close to a third of a million words about these people and their lives. Anyone who’s seen Hooded Man knows it’s a doorstopper of a book!

Picking up the tale several years after Arrowland gave me the chance to examine things like the generation gap in a way I hadn’t before, with Robert now an older more grizzled Hood, thinking about handing over control of his Rangers to his adopted son, Mark. But, of course, things don’t go anywhere near according to plan and we see chaos erupting at home in Britain. At the same time, Robert is on a tour of Ranger stations abroad and finds himself facing a new kind of foe; genetically engineered monsters this time, which allowed me to do a tighter, siege-like story, in contrast to all the huge battles I’d tackled before. All in all I had a whale of a time writing it, and from the reviews so far people seem to be having just as much fun reading it.

Clive Barker calls you the resident expert on Hellraiser and Peter Atkins goes further and calls you the world’s leading expert on this iconic series – how did you discover Hellraiser and what’s the appeal of it for you?

As mentioned, I came across Clive’s fiction first, reading ‘The Hellbound Heart’ in the anthology Dark Visions, edited by George R.R. Martin. Then I remember seeing this video in local stores which had a picture of a guy with all these nails banged into his head on the cover, stupidly not connecting the two until I started to read the blurb. I wasn’t old enough to see Hellraiser at the cinema and couldn’t even buy the video myself – I think I borrowed it from a friend’s brother initially – but I recall being desperate to see it! When I did, it scared the crap out of me, naturally, but at the same time I could see that something else was going on. The story was layered, the effects were excellent – I mean just look at Bob Keen’s Frank; it’s amazing and still holds up today – and you had this new way of summoning demons through a kind of Pandora’s Box.

The Cenobites themselves were a particular highlight for me, they were just so unique. Nobody had ever done them as these ‘magnificent superbutchers’ – as Clive describes them – before. In the past they’d been all horns and scales, or demon babies. Basically, it just had the whole package and I fell in love with the film and the mythology instantly. It’s also one of those mythos that can just expand and expand, as the sequels and comics and our anthology have shown. There’s a reason it’s still as popular as ever almost thirty years after the original.

You’ve also edited anthologies – do you find the experience has sharpened or changed your approach to writing?   

Editing anthologies, like teaching creative writing classes – which I used to do up until a few years ago – definitely help with your own writing. They help you to spot mistakes and on the flip side see how good stories are constructed. You have a distance there with other people’s stories that you don’t have with your own, so it kind of trains you to do that when it comes to editing your own stuff. You end up approaching it objectively, especially if you put it to one side for a little while before coming back to it. Both help to sharpen your own writing, forcing you to look harder at stories, to spot what’s good and what’s bad – but also to help with your own judgement about such things.  I’ve loved editing anthologies, from the very first in the small press to mass market ones later on such as The Mammoth Book of Body Horror and Beyond Rue Morgue. It’s a real treat for me and a change of pace from working on my own material, which keeps everything fresh.

Do you have a dream anthology you’d like to do but haven’t yet?

I do, and funnily enough I got very close to doing it last year. There were lots of phone calls backwards and forwards to the US, but in the end it didn’t happen. I never say never, though, so I don’t want to mention what it is in case it ever comes around again. For a little while back there, though, things were incredibly exciting.

And how have you found the process of co-editing with Marie?

Oh, I thoroughly enjoy it. Marie and I have very similar tastes in fiction, as in everything else. I can’t think of anything better than working with your best friend, apart from – of course – being married to her, so I count myself incredibly lucky in every respect there. I’ve edited anthologies on my own, but do prefer to have another set of eyes on the case, whether it’s Marie or someone else, as you can go a bit wordblind. Plus which, other people bring different things to the table. Charles Prepolec, for instance, was perfect for a project like Beyond Rue Morgue and I knew this because he’d edited my story ‘The Greatest Mystery’ for his Holmes anthology Gaslight Arcanum. Having said all that, I’ve just put an anthology to bed that I worked on by myself, but that’s a rather unusual case… and I can’t say too much about it at this time.

Room 101 time: what one genre cliché would you get rid of?

Blimey, I’m probably the wrong person to ask that as I love all the clichés, good and bad. Vampires that turn into bats, werewolves howling at the moon, cobweb-filled castles, mad scientists, shambling zombies. I’m a sucker for all of that stuff. Maybe cats jumping out at people who are going down dark corridors – that’s probably had its day. I’d like to see a badger jump out at someone or something, that would make it a bit different.

And finally, what are you up to next?

It’s been one of the busiest times I can remember actually. You catch me as I’ve just finished writing the first draft of a mass market novel (the only just announced Sherlock Holmes and the Servants of Hell for Solaris . So it’s been writing that and the graphic novel over the summer, as well as going to various conventions, like Edge-Lit and Derby Literary Festival.

I was a guest at three events, the BSFA/BFS SSF Social with Jacey Bedford in June, HorrorCon in July and Liverpool HorrorFest in August. I had a great time at all three. I also attended the launch of the Leviathan documentary at the Cinema Museum in London, as I have a 30 minute featurette on the DVD talking about the Hellraiser sequels. I’ve been doing quite a bit of PR work to promote Flaming Arrow and Monsters, as well, including interviews like this one, blog posts, podcasts, TV appearances…

Other releases out or due out include: the latest Dalton Quayle from Pendragon, The Bric-a-brac Man, which contains two new comedy horror novellas; Hellraisers, which is an interview book from Avalard featuring brand new chats with all the major players in the franchise; the sequel to RED, Blood RED – also from SST – which contains both the original novella, the brand new short novel and a host of extras, such as an extract from the award-winning screenplay based on RED, character sketches and so on… that comes with a Dave McKean cover and an introduction by Alison Littlewood; the graphic novel of Lunar – which is also being turned into a feature film by The 7th Dimension director Brad Watson, based on my script; plus a new collection called Disexistence which gathers together a lot of my new shorts from the last few years, introduced by Nancy Holder… There’s more, but that’ll do for now!

As for upcoming appearances, I’ll be at FantasyCon in October doing stuff and plugging stuff, and one of the guest speakers in November on a course in Derby called ‘The World of Writing and Publishing’, where I’ll be talking about how to make your living as a writer.

Thank you for joining us Paul!

Paul Kane is the award-winning, bestselling author and editor of over fifty books – including the Arrowhead trilogy (gathered together in the sellout Hooded Man omnibus, revolving around a post-apocalyptic version of Robin Hood), The Butterfly Man and Other Stories, Hellbound Hearts and The Mammoth Book of Body Horror. His non-fiction books include The Hellraiser Films and Their Legacy and Voices in the Dark, and his genre journalism has appeared in the likes of SFX, Rue Morgue and DeathRay. He has been a Guest at Alt.Fiction five times, was a Guest at the first SFX Weekender, at Thought Bubble in 2011, Derbyshire Literary Festival and Off the Shelf in 2012, Monster Mash and Event Horizon in 2013, Edge-Lit in 2014, plus HorrorCon and HorrorFest in 2015, as well as being a panellist at FantasyCon and the World Fantasy Convention. His work has been optioned and adapted for the big and small screen, including for US network television, plus his latest novels are Lunar (set to be turned into a feature film) and the Y.A. story The Rainbow Man (as P.B. Kane), with the sequel to RED – Blood RED – forthcoming from SST Publications. He lives in Derbyshire, UK, with his wife Marie O’Regan, his family and a black cat called Mina. Find out more at his site http://www.shadow-writer.co.uk which has featured Guest Writers such as Stephen King, Neil Gaiman, Charlaine Harris, Dean Koontz and Guillermo del Toro.

You can buy Monsters from Amazon here and Flaming Arrow from Amazon here or direct from Rebellion here.

Interview with Jan Edwards

Jan Edwards is a woman of many talents – writer, editor, publisher, bookseller, Reiki master, tarot reader, quilter, motorbike chick, Britain’s first female master locksmith, gardener, cook, potter and sculptor…

So, first let’s talk about Jan the writer. When did you first start writing and what genres draw you.
It always sounds like such a cliché to say I have always written, for as long as I can remember, but I suspect this is quite true with the majority of writers. I amused the family no end by talking in the third person for a week or more when I was around seven years old, because I wanted to see what I would sound like as a book and at secondary school I filled many school notebooks with fiction (mostly during lesson times). I wrote primarily for myself for years and only really started thinking about writing for publication in my late thirties when the family and business needed less of my time.

What draws me? I have always been fascinated by folklore, myths and legends, especially those that give rise to local customs, so fantasy was a natural path. A great deal of my short fiction has been dark fantasy, urban fantasy and horror and many of those stories have been drawn directly from those sources. Sussex Tales, my mainstream novel, also has a lean toward those local customs with the added bonus of country wine recipes and rural herb lore.  Currently I am writing a crime novel set in WW2 which is more historical than mythical –though I still find myself caught up in the same levels of research. As you can see there is no one genre that draws me; except for a recurring love of those old legends.

Which authors have inspired you in these genres?
This is the kind of question I always hate answering mainly because my influences and inspirations are so wide. Jane Austen and Daphne Du Maurier have always been huge influences, as have Arthur Conan Doyle, Joan Aitken, Michael Moorcock, Robert Holdstock and so many more. Ask me tomorrow and I will find a half dozen others.

When it comes to more recent authors it is even harder to choose because we all read so many new titles by so many people that to name one or two above the rest would be unfair to the dozens of other equally spiffing writers. I could list all of the recent and forthcoming Alchemy Press authors such as Pete Atkins, Jessica Amanda Salmonson, Bryn Fortey, Mike Chinn, Anne Nichols, Adrian Cole, Pauline Dungate, James Brogden, Paul Kane, Marion Pitman, David Sutton,  John Grant et al – or the Penkhull Press writers; Misha Herwin, Jem Shaw and Malcolm Havard – but that would be unfair to all of the other writers that not yet published by either press!

Recently read books that I’ve enjoyed most especially (who are not Alchemy Press writers – all of whom are fab!) have been by (in no special order) Jo Walton, Joanne Harris, Jim Butcher, Lou Morgan and Paul Finch. There are others of course but these are the ones that have stuck with me, which is always a good sign.

Have you ever been tempted to retell Pride and Prejudice with a genre slant? ;-)
It has crossed my mind, though it has been done so many times already that I am not sure it would be a project people would want to see. A regency urban fantasy might be quite fun to do if I got my act together. Elizabeth Bennett is one of the greatest characters in literature. She could be parachuted into almost any setting and still work. I suspect she has been paid homage (and occasionally pastiched) by many, many, writers – albeit under different names.

You’ve just had your supernatural fiction collection Leinster Gardens and Other Subtleties published with The Alchemy Press. Tell us a little more about that.
Leinster Gardens and Other Subtleties  (to paraphrase) is exactly what it says on the cover. A collection of supernatural fiction (in paper and kindle formats). All but one of the stories included have been previously published, and some of the stories had a limited audience on first publication it seemed like a good idea to give them a second airing. The single original story in there is not strictly speaking new as it was accepted for Twisted Tongue magazine which folded before my story was published. They are all supernatural in origin, either traditional ghost stories or tales that revolve around a spirit of a kind. I am not a writer of visceral horror, but rather (I hope) the sort that raises an uneasy sensation in the back of the neck when you are walking home in the dark!

You’ve got another collection – Fables and Fabulations – coming out soon. When, with whom and is there a particular theme to it?
Fables and Fabulations is coming out very soon as a ‘Penkhull Slim’ volume with the Penkhull Press. Again these are all previously published stories gathered together in a single volume, but unlike Leinster Gardens and Other Subtleties there is no particular theme beyond fantasy in its broadest sense. Fables and Fabulations opens with the vampire tale ‘A Taste of Culture, (first published in the Mammoth Book of Dracula and ends with ‘Winter Eve’, (from Ethereal Tales #9) which is an urban fantasy on Halloween and the water horses of legend galloping across Pontypridd common.  There is also are SF and horror tales in the mix so hopefully something for everyone.

Next, Jan the editor. You’ve edited multiple publications for the BFS, and co-edited for both The Alchemy Press and Fox Spirit Books. What’s the appeal of this side of publishing for you?
I do love the process of putting an anthology together. Sifting through the submissions and coming across those gems of short fiction is hard work but infinitely rewarding. The downside is in having to reject some really good stuff, either because it doesn’t fit or there is a similar story that you like just that little bit better. It is also a great way to network with other writers!

Do you have a dream anthology project you’d like to do or authors you’d like to work with in the future?
There are so many projects that would be fun to do. Something with a pagan theme perhaps – ‘Quarters and Cross Quarters’ (a working title) or maybe as an retired locksmith something like ‘Picking Over Locks’. That said I prefer not to have my themes too narrowly set. By the time you have read the sixth story about one-legged zombie hunters or Unicorns at Halloween even the best of fiction can lack originality.

Who would I like to work with? Hmm. Well the Alchemy Press books of Urban Mythic 1 &2 and Alchemy Press book of Ancient Wonders as well as the Fox Spirit book of Wicked Women all have some stellar line-ups. Top notch established writers and talented new arrivals. And of course with Alchemy Press I have worked with some fabulous writers already mentioned. So who left? I would love to get stories from Charles de Lint or Jim Butcher, Joanne Harris or Sarah Pinborough. But there are dozens, maybe hundreds of writers I could name and would hate to make a list and forget to include folks I admire but who slipped my mind just for a moment.

Do you have any recommendations for short fiction or anthologies by others?
Other than Alchemy Press authors you mean? See above. There are a zillion great writers out there I could name! The Terror Tales series of anthologies from Gray Friar Press are always worth reading. Sadly the Mammoth imprint is being phased out – I was thrilled to get a story accepted for one of their last titles Mammoth book of The Adventures of Moriarty. PS publishing put out some cracking anthologies. As a writer I enjoy an anthology that has variety. As an editor, though I use my e-reader as everyone else does, I still feel that books should be a thing of beauty, and I place a lot of value on production values. Layouts should please the eye and typos be few and far between. Most of all, with both hats on, they should entertain. I suspect only the editors like every story in a given anthology, but the good thing about them for a reader is that if there is one story in a volume that doesn’t grab you there is a good chance the next one will.

What are you up to next?
I have Fables and Fabulations coming soon, there are short stories due out in three anthologies in The Mammoth Book of the Adventures of Moriarty: The Secret Life of Sherlock Holmes’s Nemesis, Tales From The Lake: vol 2 and Terror Tales of the Ocean, and one other yet to be announced. I have a main stream novel due out with Penkhull Press in the spring and a crime novel and urban fantasy series in edit.

On ‘fun stuff’,  you can catch me in a panel at Fantasycon 2015 in Nottingham, where Alchemy Press will be selling books and launching Music in the Bone, a collection by Marion Pitman.   We shall also be at Novacon in Nottingham selling books, I shall be on  panel about editing and  we will be launching Anne Nicholls’s collection Music From the Fifth Planet; and then there is Sledgelit In Derby where we are selling books and hopefully soft launching the collection The Complete Weird Epistles of Penelope Pettiweather, Ghost Collector  by US writer Jessica Amanda Salmonson .

On other stuff Alchemy Press have multiple short listings in the British Fantasy Awards. Best Anthology: The Alchemy Press Book of Urban Mythic 2, edited by Jan Edwards and Jenny Barber;  Best Collection: Nick Nightmare Investigates, by Adrian Cole (co-published with Airgedlámh Publications);  Best Non-Fiction: Touchstones: Essays on the Fantastic, by John Howard and Best Independent Press: The Alchemy Press itself. (we won this award last year.
Fox Spirit are also in the running for multiple in the BFA shortlists with:  Best Anthology  with Tales of Eve; Best Fantasy Novel Breed by K.T. Davies; Best Short Story with ‘Change of Heart by Gaie Sebold which appears in our Wicked Women anthology (edited by Jenny Barber and Jan Edwards ) and finally for Best Independent Press

Penkhull Press and Renegade Writers have a story café at the Gladstone Museum in Stoke for Halloween.

I have no doubt other things will be slotted into the calendar before the new year. You can always catch up with what I am doing on my blog site.

Jan Edwards, thank you very much for joining us!

British Fantasy Awards 2015 shortlist (all the squee)

Don't mind me, I'll just be giggling madly in the corner here...  So, this morning the ever lovely Stephen Theaker posted the BF Awards shortlist for this year.... on the BFS website here, in full. 

This is such a fantastic list with some fab people on it (Lightspeed's Women Destroy SF! Jen Williams! Spectral's Book of Horror! Mark West! Holdfast! Lightspeed!) so huuuuuge congrats to all the nominees....

The absolute highlight though is in Best Anthology where Urban Mythic 2 scored a nomination!  To say Jan and I are insanely pleased would be an understatement of epic proportions.  We are INSANELY pleased!

And! Wicked Women copped a sorta mention too as the awesome Gaie Sebold got a Best Short Story nom for 'A Change of Heart' which appeared in it.  Babylon Steel stories for the win!

Did I mention Jan and I are insanely pleased? There is happy dancing.

And! Not only that!  But my beloved Team Alchemy and Team Skulk picked up all manner of noms, namely -

Best artist - 
Ben Baldwin - who did the gorgeous cover for Urban Mythic 1
Les Edwards - who did the equally gorgeous cover for Urban Mythic 2 as well as covers for other Alchemy titles
Sarah Anne Langton - who did the wonderfully gorgeous cover for Wicked Women as well as covers for other Fox Spirit titles
Daniele Serra - who has done lovely covers for both Alchemy and Fox Spirit

Best collection -
Nick Nightmare Investigates, Adrian Cole (The Alchemy Press and Airgedlámh Publications)

Best fantasy novel (the Robert Holdstock Award) -
Breed, KT Davies (Fox Spirit Books)

Best horror novel (the August Derleth Award) -
The Unquiet House, Alison Littlewood (Jo Fletcher Books)  - Who also had a story in Urban Mythic 1.  :-)

Best independent press -
The Alchemy Press (Peter Coleborn)
Fox Spirit Books (Adele Wearing)

Best non-fiction -
Touchstones: Essays on the Fantastic, John Howard (The Alchemy Press)

The winners will be announced at the awards ceremony on Sunday, 25 October 2015, at FantasyCon 2015 in Nottingham, and, obvs, Alchemy and Fox Spirit will be winning alllll the awards.  And getting a joint win in Best Inde Press, just cos.  ;-)

Urban Mythic 2: Tanith Lee interviewed

Author of “The Mermaid” in Urban Mythic 2, Tanith Lee answers a few questions!


Tell us a little about yourself and your writing. How long have you been writing and how did you get started?
I’ve been writing since the age of 9 – about 57 years. Being slightly dyslexic (something unrecognised in my childhood) the school couldn’t teach me how to read. My father stepped in and taught me in a few months. About a year later, by then reading as a locust feeds, I began – as if logically – to write.

What is at the root of your Urban Mythic story?
The story came from an idea a friend told me and said I might use. It was so straightforward – shocking.


You’ve written widely across a multitude of forms and genres including horror, SF, fantasy, historical, detective, contemporary-psychological, children’s and young adult; in novel, short story, radio play and TV script form: do you find yourself drawn to any one in particular? 
All and any, if they call to me. When the inspiration comes, I’m off.

Is there any genre or style of writing you haven’t tried yet but would like to?
Anything, probably, again if I get that alluring signal.

What do you think of the current state of the fantasy/sf/horror genre?
I don’t take a lot of notice of that. I read the ones I love, and now discover new loves. But I read mostly, and widely, outside the three main ‘fantasy’ areas. Always have.

Room 101 time: what one genre cliché would you get rid of?
None. From wonderful epic ideas and phrases can come rubbish. And from (perhaps) limited or clichéd ones, gardens of Hell and Paradise may flower.

What are you up to next? (Published works/conventions/random fun stuff!)
Some (Main House) reprints of some of my past work, and some new, for the USA, are under discussion. I’m also putting together lots of Lee short story collections, all including new original unpublished tales. These for UK, Australia and the USA. Conventions – I love them, but right now, no time.

Urban Mythic 2: Chico Kidd interviewed

Author of “Blood*uckers” in Urban Mythic 2, Chico Kidd answers a few questions!

What is at the root of your Urban Mythic story?
I’ve always had a soft spot for werewolves. About a year or so ago I started trying out a new voice, an NYPD detective who didn’t just happen to be a werewolf but had joined the police because she was one. “They say the real reason so many weres are drawn to law enforcement is we still want to run in a pack. Though if you ask me I think it’s just ’cause we like chasing stuff.” I spent quite a long time nailing Taz’s voice, and also working on her world (in short, the weres are cops and the vampires are the Mob) and how it all worked and fit together. This story came out of that— in effect, it’s backstory before I’ve even completed the present-day narrative!

Alchemy Press have also published your novella The Komarovs – tell us about that and is it connected to any of your other works?
It’s just one in the long-running series I call the Da Silva Tales, which comprises so far about twenty long short stories/novellas (a goodly number of which have been anthologised) and four-and-a-half novels, the first of which, Demon Weather, has been published by Booktrope. David Longhorn summed up the milieu thusly: “One not-so-fine day Portuguese sea-captain, Luis da Silva, found himself in Venice under demonic attack. The result was to make him a ghost-seer and necromancer— one with the power to conjure up those who’ve died before their time.” Set in the early years of the 20^th century, the Captain amasses a “Scooby Gang” which includes one of the protagonists of The Komarovs— Harris the werewolf. In fact its original title was Wolfbane!


You’ve travelled a great deal and had many interesting experiences – are there any adventures that particular stick out?  What places or activities have you not yet experienced that you want to?
No adventures as such, but I learnt to dive in the Maldives in the 80s, when the coral was fabulous. Nowadays much of it is dead and white, mostly due to a voracious beastie called the crown of thorns starfish. We travelled round the world about eight years ago, and that was fun. On a later trip to Hawaii I visited the newest lava flow. Mostly cooled, there was still one stream of lava falling into the sea. Two years before, people had been sunbathing on that beach. Before my other half became ill, we would go to the top of anything and everything— many years before 9/11 I remember standing on the top of one of the Twin Towers. The view was astonishing. I’d like to visit Vietnam because I am a great foodie and their cuisine looks amazing.

Is there one subject you would never write about as an author? 
Romance! And probably politics.

Room 101 time: what one genre cliché would you get rid of?
Chick-lit vampires! Buffy (and all who sailed in her) was genre-changing, but has sadly yielded to Twilight’s soppy bloodsuckers. That’s a great shame, IMHO. The Buffyverse also made humour and character integral to the action, which is what I aspire to do with the Captain and now with Taz.

What are you up to next?
The second Da Silva novel, The Werewolf of Lisbon, is due to come out this year, I hope, with the others to follow. To that end I need to finish volume five! I also have a story in Terror Tales of Yorkshire, out right about now. Plus I want to do more with Taz. I have this mad idea of writing the series backwards— first novel would be present-day, then go in reverse to the “thirteen years ago” of “Blood*uckers”. But I reckon that’s quite a long way off.

Urban Mythic 2: Sarah Ash interviewed

Author of “La Vouivre” in Urban Mythic 2, Sarah Ash answers a few questions!

Tell us a little about yourself and your writing.
I love stories. When I was a child, I used to scribble after ‘lights out’ by the street lamp outside my window, filling little notebooks with barely legible scrawl in different coloured crayons. Growing up in Bath, I used to wonder about all the lives lived out from pre-Roman times till the present day and how what happened back then gradually became transmuted into local legend as it was told and re-told through the ages. Which is why what I like to explore in my own writing what would happen, for example, if a rational, enlightened eighteenth century soldier-prince encountered real, raw magic when waging war on the neighbouring country (The Tears of Artamon). I was trained as a musician and taught music for many years and my stories frequently feature musicians struggling with their craft. Kaito, the main protagonist of The Flood Dragon’s Sacrifice plays the flute – and an old song of his clan takes on a special significance as the story develops.

What is at the root of your Urban Mythic story?
A summer holiday in the Jura a few years ago brought us into Courbet country. Frustratingly, the new Courbet museum in Ornans was still being finished then, but we were able to visit a few of the places he depicted in his paintings. It’s atmospheric, tranquil, unspoilt countryside where time seems to stand still. As for La Vouivre, this isn’t her first appearance in my writing! I’m still working on a longer novel in which she is one of the protagonists … but set several hundred years earlier.


What attracts you to anime and manga, and have you ever considered writing in this form?
How long have you got? Well, first of all, there’s a distinctive attitude to story-telling and character interaction that I don’t find in other graphic novels or Western animation. For example: in a shounen (boys’) manga or anime like Naruto, characters get hurt and die, even when they have supernatural powers. It might be fantasy (with ninjas) but it feels real. You won’t find that kind of emotional realism in the animated shows churned out (mostly) by the US for YA audiences – and it’s why you won’t find much anime (unless it’s been heavily sanitised) on kids’ TV in the UK.

Secondly, I love the way that certain mangaka-like CLAMP (the celebrated four women team) weave Japanese mythology into their work; xxxHolic is still one of my favourite manga, with gorgeous Art Nouveau-style graphics and twisted tales that stretch the imagination of the reader.

Thirdly, a great deal of care and attention goes into the soundtracks for anime series; the work of gifted composers such as Yoko Kanno, Kenji Kawai, and Yuki Kajiura add so much to the whole experience with their imaginative and memorable scores.
Lastly, I’d really love to write in this form if a mangaka expressed interested in working with me (hint, hint…). And I’d be insanely happy if a Japanese publisher ever offered to publish any of my novels and – a frequent bonus in Japanese light novels – add illustrations.

If you could have dinner with any writer in your field (past or present) who would it be and why?
Alexandre Dumas the elder would make a wonderful dinner companion; given his colourful life and appreciation of all things gastronomique – he might even prepare some of the dishes himself!

Is there one subject you would never write about as an author? 
It’s not so much a single subject as when unexpected events in ‘real life’ suddenly – and horribly – come close to a significant episode in the story that I’m working on (tidal wave/tsunami being a recent case in point) I find it almost impossible to continue.

Room 101 time: what one genre cliché would you get rid of?
The teenage kick-ass heroine who is a ruthless assassin but also a brilliant and sensitive musician, looks good in a silk gown on the dance floor at the palace ball (make up Mary Sue-style shopping list of character assets as desired…). First person present tense with these young ladies is also becoming a little stale. (Was that two clichés?)

What are you up to next?
I’ve recently brought out my first original e-book, The Flood Dragon’s Sacrifice which is the first of a two-part Japanese fantasy, so I’m (desperately) trying to finish the second part. I’m also working on the sequel to Scent of Lilies a historical ghost story set in the Byzantine empire

Urban Mythic 2: James Brogden interviewed

Author of "How to Get Ahead in Avatising" in Urban Mythic 2, James Brogden answers a few questions!

Tell us a little about yourself and your writing.
I love writing stories because I’m basically a control freak and for a short time I get to be god of my own little fantasy world. I also teach English, and my students will probably tell you much the same thing. I’m a naturalised Brummie, born in the north and raised in Australia. I loathe all forms of competitive sport, which is why I was deported from Oz, though I do like to get out into the mountains whenever I can to lose my head in something vast. When I moved to the UK as a teenager I very quickly fell in love with the weight of history which is layered into the landscape of the British Isles, though I wonder how much of that comes from having made Tolkien and Susan Cooper’s The Dark is Rising sequence part of my own internal landscape as a child. My grandmother, who lived back in the UK, made sure to send me and my brothers books which she considered to be quintessentially English; so as well as reading Aussie kids’ classics like The Magic Pudding, I grew up with Billy Bunter, Just William, and Biggles. When I moved here, it all sort of clicked, and it’s kept on clicking ever since.

What is at the root of your Urban Mythic story?
The idea of Jungian mythological archetypes in the collective unconscious – the psychological roots of all our myths – with a bit of tweaking to suggest that the archetypes aren’t just passive parts of our psyches which we tap into occasionally, but that they actively want to be incarnated as living human beings to act out their mythological life stories. And, of course, the inevitable political and media corruption of all this. Disclosure warning here: it’s a bit of a spin-off from my latest novel, Tourmaline, and the sequel which I’ve just finished, called The Realt.


Which of your previous works are you most proud of, and are there any that you would like to forget about?
I’m most proud of my story ‘If Street’, in the previous Urban Mythic collection. I wrote it on a long plane flight back from my brother’s wedding in New Zealand – which was the first time all of my immediate family had been together for about 10 years – and so it’s got a lot of my own feelings about the ambivalence of looking back on your life and wondering about the ‘road less travelled’, which I think crystallised reasonably well. I’m also a huge fan of Robert Holdstock, and I wanted to write something which riffed on the idea of the two brothers at the start of Mythago Wood. That weight of history thing again, and what happens when it falls on a person rather than a place.

If you could kill off any character from any other book, who would you choose and how would they die?
Maxim DeWinter, from Rebecca. His second wife should have learned something from the tale of his first wife, channelled some of her fiery spirit, grown a spine and offed him once she realised what a misogynistic bastard he was. Ideally, this would have been by pushing him out of an upstairs window so that he died surrounded by Rebecca’s rhododendrons, then dragged him into the house before Mrs Danvers set fire to it, disposing of the body.

Tell us about Project Tezlar – what’s it all about, and will you be doing any similar projects?
Project Tezlar happened because I wanted to build something physical based on a thing I’d written about (plus maybe a bit of work avoidance). It’s a model of a tezlar gun – a weapon used by some of my characters in Tourmaline to exorcise dreamers from our world who pop up in theirs and cause mayhem. It’s basically a big static electricity zap gun. I bought a nerf pistol from my local toy shop, tricked it out steampunk-style with a brass-and-copper paintjob and stuck all kinds of random cogs and switches all over it, the crowning glory being a plasma ball I put in which lights up when you pull the trigger. I also built a battery pack and had a leather holster custom made for it. If you want to see it, go to my blog. The next project is to make a PV detector to accompany it – but if you want to know what one of those is you’re just going to have to read Tourmaline.

Room 101 time: what one genre cliché would you get rid of?
Vampire romance love triangles. Can we please put to rest once and for all the ridiculous notion that to these creatures we are anything other than food?

What are you up to next?
I’m putting the finishing touches to The Realt, which will hopefully be with Snowbooks soon after Urban Mythic 2 comes out. Assuming that [a] they like it, and [b] the timing all works out I’ll be launching it next summer at London Film and Comic Con 2015. The project after that is going to be more out-and-out supernatural; kind of a homage to Picnic At Hanging Rock, about a group of school kids on a geography field trip who disappear and end up somewhere … strange. Until then it’s back to the day job.

Urban Mythic 2: Marion Pitman

Author of "The Cupboard of Winds” in Urban Mythic 2, Marion Pitman answers a few questions!

What is at the root of your Urban Mythic story?
There was a terrific writer called Paul Jennings, who had a column in The Observer from 1949 to the 1960s. The columns were collected into books, which is where I discovered them as a child. They are very clever, and very funny, but also often rather mystical. In one piece he writes about modern local deities, and mentions a cupboard from which draughts blow, and speculates that if you opened the door suddenly you’d see all the winds sitting inside. So I stole the idea and expanded it. I tried various ways of doing it until it finally came out like this.

How would you describe the kinds of stories you usually write and does this Urban Mythic story depart from that?
Well I write quite a lot of ghost stories, but I also write some fantasy and SF, and odd bits in other genres, sometimes humorous, so I’m not sure there’s any usual to depart from, really.


What are you currently reading?
China Miéville’s Railsea, Zoë Marriott’s The Night Itself – both brilliant – and Stella Gibbons’ Conference at Cold Comfort Farm – not a patch on the first book but still amusing.

If you could have dinner with any writer in your field (past or present) who would it be and why?
As to the present, too many to choose from, but from the past, I think I’d narrow it down to G.K. Chesterton or Charles Williams. GKC should be very good company, but I think I’d take Williams – his books are fascinating, take a bit of effort but are well worth it; he sounds an interesting person, and I don’t know much about him. And there would always be the possibility of some gossip about the other Inklings!

Room 101 time: what one genre cliché would you get rid of?
Difficult. I rather wish downbeat endings weren’t quite so much de rigueur. I’m old fashioned, I like the decent people either to triumph or to be avenged. I feel down if the villains don’t get their come-uppance.

What are you up to next?
Publishing wise, got a story due out next year in The Mammoth Book of Tales from the Vatican Vaults from Constable and Robinson, and if all goes well, next year also I should have a collection coming out from Alchemy Press. And hopefully watch some cricket before the season ends.

Urban Mythic 2: K T Davies Interviewed

Author of “For the Memory of Jane” in Urban Mythic 2, K.T. Davies answers a few questions!


Tell us a little about yourself and your writing.

My high school English teacher, Mr Tempest, told me that I wanted to be a writer before I realised I wanted to be a writer. He also told me that I wrote like James Joyce which I think had more to do with my inability to punctuate rather than content. I was ‘home schooled’ for a goodly chunk of my early childhood which amounted to running wild, exploring derelict buildings and feeding cake to feral cats. I think my, somewhat unconventional, childhood influenced my writing in many ways.

What is at the root of your Urban Mythic story?

Bradford has a long and grim and bloody history that really does include Vikings. For this story I pillaged anecdotes that I heard growing up. I think the ancestors would approve.

What is the best piece of writing advice you’ve ever received?

It was from Robin Hobb at a reading/signing she did in Huddersfield (I think), many moons ago. My eldest child was a toddler and I was struggling to square the life/writing circle. In short and to paraphrase, it was along the lines of ‘don’t sweat the housework, write’.


What do you like to do when you’re not writing, and does it come in useful for your stories?

I like to paint and read and play games, which does indeed come in useful but then I find that everything does. I’m a bit of a magpie and file everything interesting away for later use.

How did you get into a knife fight and has the experience slipped into your fiction?

It’s not as exciting as it sounds but yes, a practical knowledge of arms and armour does help when writing ye olde fight scenes. I used to re-enact and had just arrived on site for a weekend of 17th century frolics when a friend and I tried out some new stabbers. The main-gauche (parrying dagger) I was using had rather flamboyant and somewhat pointless, as it turns out, quillons. I thought I’d caught my sparring partner’s blade on said quillons and stepped in, ready to administer the coup de grace.

Or so I thought.

His blade slipped free, and sheathed itself in my thigh. Voila! I won a scar, a ruined pair of jogging bottoms, and an anecdote.

Room 101 time: what one genre cliché would you get rid of?

I’d just consign lazy writing to room 101.

What are you up to next?

By the time this is posted I’d participated on some panels about all things nerdy at Loncon 3, the World SF Convention. I then attended FantasyCon in York where two of my favourite publishers were up for awards and where Urban Mythic 2 and my new novel Breed were both launched.

I’m currently trying to finish Breed 2 and the follow up to my first novel (The Red Knight), which is called The Golden Hart. I’m also editing an edition of the BSFA Focus magazine which will be about writing for computer games and comics, two of my other loves. I’ve also got another short story coming out later this year in Fox Spirit’s Mouse and Minotaur anthology.

Find out more about K.T Davies on her website here!

Urban Mythic 2: Pauline E Dungate Interviewed

Author of "Trapped in the Web" in Urban Mythic 2, Pauline E. Dungate answers a few questions!

Tell us a little about yourself and your writing.
I’ve always loved reading. We were introduced to the local library as soon as we were old enough to look after a book properly. At school a group of us used to make up stories and it went on from there. The only fiction I’ve had published are short stories but like most writers there are several novels in the bottom drawer of the filing cabinet. I also write poetry and lots of reviews (both under the name of Pauline Morgan.)

What is at the root of your Urban Mythic story?

Birmingham has such a diversity of people living in it. Most cultures have their own myths. I like the idea that the basis for them has a root in reality and just as you can’t totally leave your heritage behind when you migrate so why should the myth figures stay behind. For those who don’t know Birmingham, the Number 11 bus route circles the city. You can get trapped in circles. There are also elements in the story which relate to things others have told me, but they are there for colour.


You’ve travelled extensively – do you have any interesting stories from your travels? What locations are do you find particularly inspiring?

Until the last few years, travelling had to be confined to school holidays (I was a teacher) but without that restraint the opportunity to go to far off places has increased. Mostly, we go with a company running nature orientated tours but that has meant finding the wild areas in places such as Ecuador, Papua New Guinea and Armenia. They are likely to turn up in stories or poems.

What’s the most important thing you have learned about writing?

Keep trying. Not every editor likes what you do but eventually you’ll find one who likes some of it.

What aspects of writing to do you find the most tricky?

Beginnings and endings. I had to start this story three times before it felt right. At the end there is always a temptation to go on after the story has finished. Sometimes it takes a good editor to say stop.

Room 101 time: what one genre cliché would you get rid of?

All aliens look humanoid and speak English, sorry American. I’m sure some are fluent Chinese speakers.

What are you up to next?

Rest of the year is pretty busy – three cons, lots of books to review, stories to write, a serious Milford crit session before heading to the Greater Antilles (Caribbean) for three weeks in December.

Urban Mythic 2: Lou Morgan Interviewed

Tell us a little about yourself and your writing.

I’m a novelist and short story writer, and I bounce infuriatingly between any kind of genre that takes my fancy. So far, that’s urban fantasy and horror for both adult and teen readers, because at the end of the day, I just like telling stories.

My first novel, Blood and Feathers, was an urban fantasy involving hellmouths and sarcastic angels with drinking problems, handguns and secrets, and which was nominated for British Fantasy Awards in both the best newcomer and best fantasy novel categories. The sequel, Blood and Feathers: Rebellion, picks up the story, and has also been nominated in the best fantasy novel category for this year’s BFAs. I’ve also written short stories for people like PS Publishing, Jurassic, Fox Spirit and Solaris – and Alchemy Press, of course.

And I have two cats, because that’s the law if you write fantasy.

What is at the root of your Urban Mythic story?

The idea behind “Death and the Weaver” came from Breton folklore. I spent a lot of time in Brittany growing up, and still go back most summers, so I know the stories pretty well. My favourite was always the Ankou,  a skeletal Grim Reaper figure whose role was to collect the souls of the dead from each parish. On the face of it, it doesn’t sound that unusual, but the interesting thing about the Ankou is that he is always one of the parishioners himself: the soul of the last person to die in the year serves as the Ankou for a year and is then replaced. I love the idea that this could (and probably would) mean it was someone you knew – and I started to wonder how that would change your relationship with death.

Bringing the Ankou up to date was a lot of fun. I read as many versions of the legend as I could, which stretched my French about as far as it could go! In most of them, the Ankou is very tall and usually has long white hair and a head which constantly revolves (so no death escapes him). He carries a scythe with the blade pointing forward and rides a cart pulled by two horses – one fat and one thin. Not all of these would work in a modern setting … but the C in a Citroen 2CV originally referred to “chevaux” (horses), so…


You’re known for having soundtracks for your work – did “Death and the Weaver” have a soundtrack or particular song?

Funnily enough, it did! Along with the Breton folklore, I love Breton music and I have quite a lot of it. I started out having some of the more traditional songs playing in the background, but even modern Breton music still has strong folk roots so there’re lots of bagpipes and accordions in there. I ended up with two songs pretty much on a loop, both by Anthony Chaplain. One was “Marie de la Dondaine” (click here) and the other was “Bzh” – basically a mash-up of several different traditional songs. The title is the abbreviation for the Breton name for Brittany: Breizh. Those two songs between them probably came to feel like a part of the story.

How has the transition between writing adult and YA fiction been? Is there anything you can do with your YA work that you couldn’t do with your adult work? Or vice versa?

I’ve probably been very lucky in that the kind of books I want to write hover around the border between YA and adult fiction. I’m always interested in the idea of identity and responsibility, which are two of the biggest themes in YA and still incredibly relevant beyond that. I mean, who gets to 18 and says, “Yes, that’s it. I know exactly who I am. This is me.”?

I love having the opportunity and freedom to work in both fields and I hope I don’t treat them that differently (although, in fairness, I try to swear a bit less in YA!). The one big change I’ve found, though, is that I feel there have to be more consequences in YA. Not in a judge-y, lecture-y sort of way, but the Blood and Feathers books have, for instance, a fair amount of casual violence in them … and I don’t think I’d be comfortable writing that into a YA.

Room 101 time: what one genre cliché would you get rid of?

Every genre comes with its own set of clichés; they’re what help us identify them as a particular genre, aren’t they? I think I’d rather get rid of the idea that there’s “literary” fiction and “genre” fiction and never the twain shall meet. There’s a fair amount of snobbery in either direction, and that utterly infuriates me. There are as many different stories in the world as there are ideas and not all of them will appeal to everyone … and that’s OK.

What inspired you to run a marathon next year and where can people go to sponsor you?

If only it were a full marathon! I’m actually running a half-marathon (although that’s still 13 miles which is enough to make me weep at the moment): the Bath Half, in March 2015. I’ve thought about it for a couple of years now, and never managed to talk myself into it, but I did one many years ago (the Moonwalk, which takes place at night through central London) and I loved the challenge. I am, clearly, a glutton for punishment.

As part of that, I’m hoping to raise some sponsorship money for Kids Company, who operate centres in both London and Bristol to provide practical, emotional and educational support to vulnerable inner-city children. You can find out a little more about them on their website.

Their work is amazing and incredibly worthwhile, with the potential to make an enormous difference to so many children’s lives, but they need at least £13.5 million a year to keep doing it. Even the tiniest donation helps towards that and is incredibly welcome, so if anyone would like to sponsor my months of running (which, believe me, is something you won’t hear me saying very often) to train through the winter, and for the race itself, you can find my sponsor page here: http://uk.virginmoneygiving.com/runloumorgan

What are you up to next?

I have a couple of stories I’m really excited about which should be surfacing in the near future. Besides “Death and the Weaver”, there’s a story about Oliver Cromwell’s other head which will appear in Fox Spirit’s Missing Monarchs issue of their Fox Pockets series, and I was thrilled to be asked to contribute to the third volume of the Zombie Apocalypse! anthologies. Zombies have never been my favourite monsters, so the chance to create one that interested me was too good to pass up.

The beginning of 2015 also sees the paperback release of Sleepless, my first YA book for Stripes Publishing as part of their Red Eye horror series, which follows a group of friends who take an unlicensed study drug they find on the internet. It’s all set around the Barbican and Smithfield meat market in central London, because ever since I lived there I knew I wanted to set a horror story there! And it’s probably not giving too much away to say that for it won’t end well for everyone…

For more information, check out loummorgan.wordpress.com or @LouMorgan

Urban Mythic 2: Cover, Launch, ToC

Darlings! Hello!  We have a launch date for the ever marvellous Urban Mythic 2!
We will be unleashing the Anthology of Awesome at Fantasycon in York, on Saturday 6th September at 2pm.  Hurrah!

Not only that, we have cover!  Well, prelim cover.  Slight changes may be made to the font-y bits, but, hey, look... pretty picture from Edward Miller!

And! Final order of contents!

The Mermaid  - Tanith Lee

For the Memory of Jane  - K T Davies

Where the Brass Band Plays  - Adrian Tchaikovsky

How to Get  Ahead in Avatising -  James Brogden

 La Vouivre -  Sarah Ash

Trapped in the Web - Pauline E Dungate

 The West Dulwich Horror  - Carl Barker 

The Cupboard of Winds  - Marion Pitman

Blood*uckers -  Chico Kidd

High School Mythical: Asgard -  Christine Morgan

Paradise Walk  - Andrew Coulthard 

Death and the Weaver - Lou Morgan

Are you excited? I'm excited! ;-)

Urban Mythic Miscellany

Oh what news we have for you my lovelies!

First, Urban Mythic #1 was kinda sorta nominated in the British Fantasy Awards.  Oh yes! Our very own Adrian Tchaikovsky made the Best Short Fiction short list with his story 'Family Business'.  Massive congrats to Adrian!

Our publisher overlords at Alchemy Press also made the short list for Best Small Press and Best Non Fiction (with Doors to Elsewhere by Mike Barrett); and with our loyal Fox Spirit editor hats on, we're also rather pleased that Fox Spirit Books also made the shortlists in Best Small Press, and Best Anthology (with Tales of Eve edited by Mhairi Simpson).  So epic glee all round!  (Not least because so many women made the BFA short lists this year as well. Hurrah!)

Now! Urban Mythic #2 news! 
Yes, my darlings, we have contents!  In alphabetical order, with proper order to follow anon, here be our fabulous people...

Sarah Ash – La Vouivre
James Brogden – How to Get Ahead in Avatising
Carl Barker – The West Dulwich Horror
Andrew Coulthard – Paradise Walk
K T Davies – For the Memory of Jane
Pauline E Dungate – Trapped in the Web
Chico Kidd – Blood*uckers
Tanith Lee – The Mermaid
Christine Morgan – High School Mythical:Asgard
Lou Morgan – Death and the Weaver
Marion Pitman – The Cupboard of Winds
Adrian Tchaikovsky – Where the Brass Band Plays

And! There will be a cover by Les Edwards - to be revealed at a later date.

Aaaaaalllll the awesome!

Urban Mythic 2 Call for Submissions

So, yes then, we're doing Urban Mythic #2!  Can I get a woohoo?  (Woohoo!)

Official Blurb!

We are seeking contemporary tales with all the magic and wonder of myth and legend, blending modern life with the traditions of folklore from around the world. Whether lurking in dark alleys or brash shopping malls, ensconced in upscale riverside penthouse lofts or humble suburban semis, we want to see the fantastic woven into the everyday. We want fiction that entertains but also pushes beyond the usual urban fantasy boundaries – action, folk tales re-imagined, mythic creatures adapting to the urban environment – be it noir, humour, dark, literary or light, there must be a recognisable mythic thread. Fully realised characters are a must and solid plots extremely desirable.

We don’t want: secondary worlds, steampunk, SF, zombies, human sacrifice, magic help-lines, paranormal romance love-triangles, erotica, religion, gore, and absolutely no poetry.

Electronic submissions only to Jan Edwards and Jenny Barber at tapboum@gmail.com. Send manuscript as an email attachment in standard manuscript format (in RTF/doc/docx). Both the email subject line and the manuscript file name must include: submissions – title – author’s name – word count (e.g., Submissions – My Great Story – Jane Doe – 5000 words). Full contact details must be included on the manuscript’s front/first page as well as in the email. Submission window closes 30 April 2014. No acceptances/rejections will be made until after this date.

We are seeking original fiction between 3,000 and 8,000 words. Payment is £10.00 for the first 5,000 words, then 0.2p per word on publication, plus a copy of the book. Payment is made via PayPal or UK cheque (overseas’ contributors must have a PayPal account).

The Alchemy Press intends to launch this book at FantasyCon in September 2014.

-x-
Right, official stuff having been said, here's the extra editor Jen bit that I said last year, and mean doubly this year.

Do not assume the guidelines don't apply to you. Seriously. The wordcount is firm (I repeat, the wordcount is FIRM.  Don't ask, just rewrite to fit.) and we're really serious about those things we don't want to see because, honestly, some of them don't apply to the theme, and some of them are things we've seen so many times in the slushpile our brains automatically shut down as soon as we see a story with them in.

So - to repeat, this is not an anthology for your poetry, secondary worlds, steampunk, SF, zombies, paranormal romance or erotica. We don't want to see human sacrifice, magic help-lines, heaven/hell as a corporation, mythic-beastie love triangles or relentless gore.

Also - do not send us fan fiction with the serial numbers filed off, main characters who spend the entire story in denial of the supernatural elements around them, anything remotely resembling a mid-life crisis, someone in the midst of writer's block (or other artist's block), anything with an obvious twist or dream endings (they rarely work). In fact, check out the Strange Horizons page on what they see too often, that pretty much covers a lot of the stuff that makes us cringe too!

And avoid anything vaguely epistolary. Due to excessive experience in multiple slushpiles, I can't read any story that's set out as letters/emails/diary entries/tweets etc.

Don't go overboard with the covering email - keep it short and to the point. If you use Word, don't forget to turn off your track changes and accept all changes before you send the doc, because it is very distracting when it all shows up. :-)

Don't waste your first page. Open strong, don't waffle, don't smack us in the face with an epic infodump on your story's version of the world or the complete history of your protagonist. We can work these things out as we read. Give us an interesting character and situation to make us keep reading.

Diversity is good.  No, scratch that. Diversity is awesome.  We're actively encouraging diversity in all elements of the anthology and are particularly interested in settings and cultures not traditionally covered in urban fantasy - just make sure they're well researched and not exoticised. Picking a location just because it looks shiny is a no-no - give us depth and a respectful understanding of the local culture and folklore. Likewise with your choice of protagonist - we're very open to diverse perspectives and hearing the stories of people who are traditionally underrepresented in urban fantasy.  See the Resources page for links to useful articles on avoiding cultural appropriation etc.

I like humour and satire and generally fun stories. A bit of subtle social commentary never goes amiss so long as it doesn't get overbearing or preachy. I like stories that are fast and to the point, with plenty of plot-related action. I like things that introduce new concepts and that mash up genres. I also like stories that are slower and create an atmosphere, things with a decent plot that are also mood pieces. I've a soft spot for a gorgeously turned phrase, though watch out that it doesn't go purple.

Mainly it's all about the characters. I can forgive a lot in a story, but if the characters are thin or cliche or generally unpleasant assholes with no story logic behind their personality, then I lose interest. I have very low tolerance for obsessively racist/sexist/homophobic characters, even if they meet a grisly end. I like characters whose choices move the plot along, characters who have a strong voice and obvious personality. I prefer characters with a bit of experience in their profession and/or with the mythic element of the story, as I've read far too many stories where a newbie is just discovering the weird things and spends the whole story having everything explained to them. 

But other than that, we're flexible.  ;-) 

Urban Mythic: Kate Griffin

And today!  Here's Urban Mythic author Kate Griffin to entertain you!

Tell us a little about yourself and what you like to write.

I'm Kate Griffin - well, no, I'm actually Catherine Webb, but I write urban fantasy as Kate Griffin.  I usually write a series set in London, in which I do my very best to update the stuff of 'traditional' magic to a more modern vibe.  Thus, vampires are registered with the NHS blood banks, curses are sent by text and the most powerful spells around are written on the back of travelcards.  I love London and always had this nagging suspicion that 'magic' should harken to its older sense of 'wonder' rather than 'speaking old words in a dead language', and I guess the city has always given me that sense of delight.

What was the idea behind "An Inspector Calls"?

Have you ever had to deal with your local council?  The hours I've wasted dealing with bureaucracy - the hours listening to the same hold music on the same loop, of banging your head against an officious wall as you try to explain, to implore someone to understand that what you're asking won't bring down the government, and may actually improve the quality of life for yourself if not others, but no!  Because there's just... one... more... form!

And I guess that I've always felt that it'd be interesting to extend this idea into the realms of wizardry.  I'd love to see how Merlin reacted to negotiations with the department of work and pensions.  It'd be genuinely fascinated to see how long it takes an angry necromancer to summon an undead hoard after spending an hour queuing at the post office.  I guess I thought it'd be fun to combine magic with the least magical experience of modern life.

Also, the weekend the brief came through, I had a friend round, who sat still and not only listened, but also got excited by the whole idea, and let's face it, both those make a world of difference.

How urban do you like your fantasy and who are your must-read authors?

Um.  I'm not sure I know the answer to the first part of that.  I know that I think 'urban' fantasy shouldn't necessarily involve reciting spells in Latin or summoning a unicorn (unless it's petrol-powered) as that to me just seems like traditional fantasy in a city, rather than urban fantasy using modern things.  But other than that... I'm not sure I can really give a truly sagely reply...

Terry Pratchett and Neil Gaiman kinda go without saying.  I love everything Roger Zelazny ever wrote ever.  It's not fantasy, but Raymond Chandler's also always on my must-read list.  I wish I'd got my shelves built at the time of answering this question, as then I'd be able to actually browse my books and give a better reply, instead of crawl through the piles on my floor....

Has your involvement with background stage-craft influenced how you write scenes?

Um.  Consciously: no.  When I work as a lighting designer, it's an entirely different discipline, full of numbers, angles, three dimensional shapes and colours.  The rhythms of stories are still the same on page and on stage, and as an LD it's useful to be able to get a handle of the shape of a play and the direction it takes, but that's more of writing influencing lighting rather than visa versa.

Unconsciously: probably.  Tom Lehrer said that a good mathematician plagiarised everything but called it 'research'.  In the world of scribbling I think it's probably fair to say that very few indeed set out to consciously plagiarise anything, but that no one can go through life without being influenced by what they see, hear, feel and do.  I'm not consciously aware that, as a technician, I'm changing how I'm write.  I'm fairly sure I am, in much the same way that if I were a lawyer or shark tamer I'd probably be influenced by my work.

What are you up to next?

Let's think... well, I have a Top Secret Book being published early 2014 about which I am barred from saying anything at all for reasons which I'll explain in two years time when I'm permitted to say something.  I'm writing another book at the moment which is also a Top Secret Something, and have a final book on submission about which... you guessed it... I'm still forbad from saying a word.  I've got a play on at Riverside Studios in spring 2014 which I was asked to write for after a director ran some devising workshops, but that's under yet another name - Kate McCormick, although isn't top secret.  In the other job I've got a few more shows to light before the year is out, as well as a couple of gigs.  I'm also working towards yet another exam in a martial art called escrima which is one of the most relaxing outlets I've ever encountered.  So.  In a cryptic, very unhelpful way... lots happening.

[Kate Griffin is the name under which Catherine Webb writes fantasy books for adults.
First published when a teenager, she’s been writing for just long enough to have started to forget her early plots and characters.  She likes big cities, urban magic, Thai food and graffiti-spotting.  To keep herself occupied between chapters, she works as a theatre lighting designer, in the happy expectation that two artsy careers create a perfectly balanced life. Find her at www.kategriffin.net]

Urban Mythic: James Brogden

Last seen in our very own Ancient Wonders, give it up for Urban Mythic author James Brogden!

Tell us a little about yourself and what you like to write.

I'm afraid that I am a disappointingly normal human being; middle-aged, middle-incomed, living in middle-England in a happy marriage with two kids, a cat, and a decent lego collection. To pay the bills I teach English, and in the meantime I'm trying to cut it as an author - so, living the cliche there. My theme tune, if I had one, would be Huey Lewis' "Hip to be Square". As a result, I write stories about When Ordinary Things Go Weird, which means it tends towards the horrific - monsters in garden ponds, MOT inspections which lead to satanic sacrifices, teddy bears that breathe with the souls of dead children. The kind of things which would terrify me in my safe suburban bubble. I'm trying as hard as I possibly can to avoid standard horror tropes, which also means that what I write veers into the darkly fantastical as often as not. I did fall off the wagon and write a story with a zombie in it recently, but she was reanimated out of hatred for her husband's obsession with DIY, so I can live with that.

What was it that inspired "The Smith of Hockley"?

The image of the Midas Scorpion has been kicking around in my head for years, looking for a story to appear in, and Birmingham's Jewellery Quarter was the perfect setting, but I couldn't square that with any mythology which wasn't uniquely English so I did a bit of hunting around and re-discovered the legend of Wayland Smith, which, in turn, tied in nicely with the discovery of the Staffordshire Hoard. I find that there's hardly ever a single inspiration for a story - images and ideas constellate together and reinforce each other organically, for the most part.

How urban do you like your fantasy and who are your must-read authors?

Urban fantasy is what I like to write because it stems from my own anxieties and hang-ups, and I find it easier to find emotional hooks for my characters in the world that I know. It also allows me to be a bit lighter and more whimsical in what I write, as I basically can't take anything very seriously for long and I don't think I could sustain the seriousness of an out-and-out horror novel. In terms of what I read I'm a lot more wide-ranging. I like a bit of high fantasy, and I'm also quite loving Stephen Baxter's Northland trilogy at the moment because it incorporates a lot of my interests in archaeology and alternate history - plus it's a cracking story, which helps.

I've also been reading Edgelands by Michael Symmons Roberts and Paul Farley, which isn't fiction at all, but more travelogue-cum-poetry about the marginal areas of Britain's urban areas. I understand why London looms large in the urban fantasy genre, and I have no problem with that, but for myself I want to explore the fantastical potential of where I live, which is the Midlands. Writers I keep coming back to for inspiration are Robert Holdstock, Neil Gaiman, Graham Joyce, Christopher Fowler, and Clive Barker. My new discoveries are Sarah Pinborough and Robert Shearman, both of whose work I'm currently devouring.

What is Den of Eek!2 and how are you involved?

Den of Eek 2 is the sequel to - wait for it - Den of Eek, which was a story-telling event last year hosted by the pop-culture website Den of Geek in order to raise money for cancer research. I became involved when they had a competition for new writers, and I was one of three winners. I went down to London just like it says in the fairy tale and had the most awesome evening in a pub reading my story to an audience alongside established novelists and screenwriters, and feeling massively out of my league. Still, it must have gone down okay because they invited me to write another story for this year's event. I demand that everybody reading this go and buy a copy of the Den of Eek anthology from Amazon immediately - every penny goes to charity. After they've bought Urban Mythic, of course.

What will you be up to next?

By the time Urban Mythic is launched I will have released my second novel, Tourmaline. It's urban fantasy again, with elements of steampunk in an alternative world intersecting with our own. I'll also have a short story about a road-kill restaurant in an anthology called The Last Diner by Knightwatch Press. Con-wise I have two big dates coming up: London Film and Comic Con in October, where I'll be signing copies of Tourmaline, and I'll be appearing on a panel at Andromeda One in Birmingham on September 21st, which is very exciting as it's my first. Other than that, the new school year begins soon, so I'm going to have to start thinking about the real world soon. Which brings us nicely full circle. I like the symmetry of that.

[James Brogden is a part-time Australian who lives with his wife and two daughters in Bromsgrove, Worcestershire, where he teaches English. His stories have appeared in various magazines and anthologies such as the Big Issue, the British Fantasy Society’s Dark Horizons, Urban Occult, and the Alchemy Press Book of Ancient Wonders, and he was a winner of Den Of Geek’s new talent showcase with his story The Phantom Limb. His new urban fantasy novel Tourmaline is published by Snowbooks in September of 2013. Blogging occurs at jamesbrogden.blogspot.co.uk, and tweeting at @skippybe.]

Urban Mythic: Zen Cho

Today my darlings, we at Urban Mythic towers bring you the fabulous Zen Cho!

Tell us a little about yourself and what you like to write.

I'm a lawyer and writer living in London. The two main things I write are Malaysian fantasy (i.e. speculative fiction featuring Malaysian characters or settings or both), and a made-up subgenre I like to call "fluff for postcolonial booknerds".

What was the idea behind "Fish Bowl"?

I had a maths tuition teacher once who had a fish pool inside her house in which she reared koi -- quite an extraordinary thing to find in your standard suburban house. The idea for the story grew out of that. It also ended up being about the pressure on kids, especially girls, in a certain kind of middle-class, high-achieving household to be perfect. (That's obviously a stereotype associated with Asian families, but I think it has as much, if not more, to do with socio-economic background as culture.) When I wrote the story I was thinking about how it is possible to be very, very sheltered as a teenager, but very, very unhappy.

How urban do you like your fantasy and who are your must-read authors?

I’m more into suburban fantasy than urban fantasy -- I’m quite interested in what happens inside people’s houses, and like speculative fiction with a fairly intimate, domestic scope. Edith Nesbit and Diana Wynne Jones spring to mind.

You’ve curated a list of Malaysian SFF writers on your website – do you have any particular favourite stories or authors?

I’m a bit hesitant to play favourites – there’s a lot of interesting stuff on my list and everybody should go check it out for themselves! So I’m going to cheat and name someone I haven’t even mentioned in the list yet, Zedeck Siew. As far as I know Zedeck hasn’t had any speculative fiction published, but he’s active in the Malaysian arts scene and has put out a lot of work of various kinds over the years. Currently he’s working on a compilation of short speculative stories which I’m really looking forward to. In the meantime you can check out his Tumblr (http://zedecksiew.tumblr.com/) for examples of his "small fictions".

What are you up to next?

Besides "Fish Bowl", I’ve got short stories in three other publications coming out this year: LONTAR: The Journal of Southeast Asian Speculative Fiction from Singaporean publisher Math Paper Press, The End of the Road from UK press Solaris Books, and Love in Penang from Malaysian indie press Fixi Novo.

I'm also working on revisions to what might be my first novel (if my agent can persuade someone to publish it!). It's a Regency-set fantasy of manners about England’s first black Sorcerer Royal. It's basically a mishmash of everything I like from Georgette Heyer and P. G. Wodehouse, plus magic, written with a postcolonial sensibility.

[Zen Cho is a Malaysian writer living in London and a 2013 finalist for the John W. Campbell Award for Best New Writer. Her short fiction has appeared most recently in Esquire Malaysia, Andromeda Spaceways Inflight Magazine, and Prime Books anthology Bloody Fabulous. Find out more about her work at http://zencho.org ]