All posts by Elise

Shimmer #16 Table of Contents

Shimmer #15 is reviewed by the indomitable Lois Tilton, and as if that weren’t enough of a gift, we’ve got the table of contents for Shimmer #16 right here!

Ordinary Souls, by K.M. Szpara

Goodbye Mildred, by Charlie Bookout

Opposable Thumbs, by Gregory Leunig

Word and Flesh, by Dennis Ginoza

The Revelation of Morgan Stern, by Christie Yant

The Binding of Memories, by Cate Gardner

The Death and Life of Bob, William Jablonsky

The Sky Whale, by Rebecca Emanuelsen

Tasting of the Sea, by A.C. Wise

Lighting the Candles, by Laura Hinkle

Gemini in the House of Mars, Nicole M. Taylor

The Haunted Jalopy Races, by M. Bennardo

In Light of Recent Events I Have Reconsidered the Wisdom of Your Space Elevator, Helena Bell

Beyond pleased with this line up and cannot wait to share these stories with you. We can do that this fall!

Awesome Things Everywhere

If I were asked to name the most awesome thing about working at Shimmer, I would be stumped. There is too much goodness. Wait, can there BE too much goodness? Rest assured, there is a lot of awesome involved in this job and here’s where I get to share some of it with you!

Shimmer 15

Shimmer #15 hit the streets last week, and six of the seven authors are new to our pages. We always interview our authors, trying to get a peek behind the scenes, a glimpse of the magic. I hope you enjoy these glimpses as much as you will the stories themselves! I am blessed to work with the outstanding people I do.

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The spark initially came from the eruption of Mount Eyjafjallajökull in Iceland. I was fascinated by the images of volcanic lightning…

Things grow: they come up out of the ground, and some are stunted, and some flourish, and I have no real insight into the nature of what’s happening. I suppose I’ve just inadvertently called my own mind inhuman and overwhelming, but that feels accurate as well. I stand by the analogy…

Reject simple dichotomies. Never use gender, color, age, or orientation as short-hand in characterization; none of those traits necessitates or presupposes any other character trait. Show the world not as other people tell you it is or as you’ve learned to see it, but as you see it when you’re really looking

Writing-wise, the most important thing I learned was that writing was a job that I was doing. Not a kind of ethereal ongoing vision quest (though there can sometimes be elements of that). It’s about putting the words on the page, putting the pages in the mail and doing it again and again and again. And then you die, I think…

While I approached this project with a great deal of fear and trembling at the start, worried I wouldn’t be able to do it justice, [this] is now a story I can single out as an example of my best work and a project I didn’t allow to beat me…

I’ve also wondered about how hacking, phishing, spam, flame wars, and other internet phenomena might work on a galactic scale.  Suppose we finally communicate with aliens, and they turn out to be telemarketers?

Feed the dragon regularly.  The expenses alone will keep you writing – dragons typically demand to be fed imported caviar, fine single sourced chocolate, organic ranch raised bison and beef, teddy bears, and fairies.

Shimmer 15 is available in paper and electronic formats. Get yours today!

Shimmer #15: Preorder

In 2006, a call went out for slush readers at Shimmer. I was in a place with my writing where I felt it was something I should do–the experience could only help my own writing, as I would be learning what worked and didn’t when it came to fiction. It’s always easier to see flaws in the writing of others, isn’t it?

Shimmer Magazine #15

I didn’t think, however, that I would make the cut. I worried over my application, because Shimmer was a publication I loved. Shimmer filled a niche in the genre community–quirky and often unclassifiable fantasy. It’s what I often wrote. So, I sucked up my courage and applied (and crossed my fingers). It wouldn’t be any worse than a fiction submission, I told myself. It’s either yes or no and then you move on.

Moving On

When it was a yes, it’s possible I danced around my desk a bit (a lot). Reading those first submissions was scary (terrifying). I had the power to reject stories and it’s one I had to take seriously–and still do. When Beth asked me to take the reins when it came to fiction starting with issue 15, I had that moment again, the moment where I thought I wouldn’t make the cut.

Still, I wanted it. I had learned much from Beth and slush and my fellow readers in six years (!) and it felt right to take that step. Terrifying (in a new way), but right. Not only did I still have the power to reject stories, I had the power to say which stories would actually make it into the issue. Which also meant I had to figure out the best way for stories to fit together, the best way to use the space, and exactly what I wanted Shimmer to look like.

It Looks…Shimmery

What Shimmer looks like isn’t changing. Beth and I have much in common when it comes to our story candy, and since I’ve always loved what Shimmer does, Shimmer is going to keep on doing that. Of course there are things I like that Beth doesn’t, but the bare bones are the same. You are walking in deep, dark woods without a visible path beneath your feet (but you feel the stones, they’re cold), and in the distance you see a glimmer of light piercing the black canopy.

I am enthusiastic about stories that are warped like a Dali painting. Sure, it’s a watch, but look how it flows right over that tree branch. Stories that are surreal, worlds that glide over the surface of our own. You will find this within “What Fireworks” in issue #15. I’m also deeply enamored of stories that make something new of death (“The Undertaker’s Son”), of what it means to die (“Harrowing Emily”), of what it means to live (“Soulless in His Sight”). Of angels and birds and poetry. Deliberately going to the underworld and coming back with dirt under not only your nails but your soul. To prove that new things will emerge, issue #15 contains a story we rejected, but one that wouldn’t let me go. I kept thinking about it as I read other stories, so knew I wanted to revisit it.

New Lands

Issue #15 was my first issue to experience the process from slush pile to finished product. Usually, after making edits to accepted stories and proofing the final copy, I was done. But this time, tasks remained. Layout! Artwork! Coordination! Printers! There was the discovery that no one works the way I do, which should be a no-brainer, right? People rarely work the same way. I found that deadlines enabled me to keep working the way I do.

Still, everything takes longer than you think it will. No one works at the same speed or in the same fashion. Keeping everything moving forward was (and remains) a challenge. There are many people in the chain, from readers to editors to writers to artists to printers, and every single person has another job and a family and a life and often conventions and travel, and these things must be respected.

It’s not so easy to choose the final stories which will end up in an issue. There are many stories we linger over and may not accept even though they’re lovely. The first story I bought was “The Undertaker’s Son,” a haunting piece that will draw you into the world of young Albert who has a special talent with the dead. “The Undertaker’s Son” became our cover story, as I feel it anchors the entire issue.

Building an issue around this story was an incredible thing to watch. I had no idea how it would go, but at times the stories seemed to fall together on their own. What one story says, another may echo; what one story explores may be the reflection of another. You begin to see patterns in the chaos and find your way forward.

Still, it was scary. What if no one likes it, my brain moaned. The rational side to my brain told the moaning side to shut up. It’s no different than a story submission. Some will like it, some will not. This is the way of all things. What if people love it? my brain suggested. Yeah. What if?

Bottom line, we want to show you something.

And the best thing? It’s almost here! You can pre-order Shimmer #15 right now!

Keep On Keeping On

I’ve learned a lot about myself over the course of this issue (I work best with deadlines? Never would have believed that! I like stories involving angels? More than I thought, apparently!). I’ve also come to find a fantastic friend in Beth, who guided me from start to finish. Issue #16 is full of its own challenges, as we will be publishing ten thousand more words than we have before.

In January, Beth told us she had audacious plans for 2012. We’re half way through and I cannot wait to show you guys what’s next.

Free-falling

For my recent trip to Portland (the Oregon, not the Maine), I had a short mental list of things I wanted to do. Powell’s, Voodoo Doughnuts, a glimpse of the coastline. The thing I wanted to do most, I didn’t get to do. I was hoping that a trip to the coast would inspire me to finally figure out a story that has been on the back burner for quite some time now. It involves that coastline, time travel, and the hope of a better future if we can just figure out how to send ourselves the right message.

Multnomah Falls, by E. Catherine Tobler

I was hungry for the coast, for water and rocks and landscapes I don’t have at home, but the days fell together differently than I’d hoped and we didn’t reach the coast. Still, something unexpected happened which gave me water and rocks and new landscapes. An unplanned excursion to Multnomah Falls took my breath away–and helped anchor my current novel’s voice in my head.

Multnomah Falls was nothing I expected. Didn’t expect to go there and once there, didn’t expect to find such beauty and inspiration on what seems to be nothing more than the side of a highway. Beyond the parking lot and through a tunnel beneath the highway, the world changes. It opens up into a space of soft greenery and a trickle of a river over smooth stones. Farther on, a six hundred and eleven foot waterfall spills.

To view the falls from the base is staggering. It’s the best place to contemplate the entire height. At the very least, you will also want to hike up the trail, to reach the Benson Footbridge (1914) where the mist of the falls can smudge your glasses and trickle into your shirt collar. I think you can hike even beyond that, but we called it good at the footbridge.

The air was cool up there, and wet. Moss grows on everything, even the stones. Standing on the bridge, pieces of my novel began to assemble themselves in my head. Though one piece of that novel is unrelated to water and falls, it still said “hello, here’s how I actually work, now go write me.” Through my camera lens, I saw my heroine in her watery environment, trying to reconnect with it even as I tried to connect with my fiction.

Unplanned, unexpected. When my mind was given a detour, it found the right path anyhow, and offered up exactly what I needed–even though I didn’t know I needed it. Maybe it’s not about sending ourselves the right message after all; it’s about letting the right message find us. Anne Lamott tells us we aren’t blocked when we stumble in our writing, but that we need to refill the well. Rather than trying to control how that well refills and checking things off a pre-made list like a boss, let yourself stay open to opportunities that may arise.

Where are you going this summer? Wherever it is, I hope you find yourself detoured in one way or another. Don’t frown or fuss; you may well find something you need on that path.

Be a Drag (Queen)

Beth and I have been talking–a lot–about drag queens. We discovered we both love RuPaul’s Drag Race to distraction – and we’ve been applying the show’s timeless lessons to the rest of our lives. So here’s what drag queens have taught us about writing.

1. Be confident

You can tell a confident writer from sentence one. They know where the story is going and will hold you firmly by the hand as they show you all the marvelous things. The confident writer strides much as the confident queen, certain that she will not trip on the hem of her gown or twist a heel. Is that spotlight in your eye? Stay focused on the way it must be setting off the glitter in your eyeliner! Chin up, fingers on the keys. Go.

2. Learn the skills

Those bitches who don’t know how to sew are screwed.

Every craft has a skillset, whether it be mastering a sexy walk in high heels or learning the proper placement of a semicolon. Read a book or two on the skills; learn the rules (yes, you betta work!) so you can know exactly how to break them and still look fabulous doing so.

3. Tuck your junk

We told you above to learn the skills: now complete the illusion by making it look effortless. Just as a drag queen tucks, and shaves, and makes sure the silver lame gets trimmed properly before she hits the main stage, writers need to refine their work to really make it shine. Did you spell-check? Do the sentences flow? Is everything in the story really necessary, or do you need to murder some of your darlings? When you’re ready to share your work, be clean, be tucked, be fierce! (Ref: point one.)

4. It’s not enough to be pretty

No matter how pretty that final draft is, it’s not enough. It needs to be a good story, told with passion. It needs fresh, strong ideas. It needs to touch our hearts. Lead us to a strange new country with your words, and make us fall in love with it.

5. Commit wholeheartedly to your own extraordinary vision

Your vision won’t be right for everyone. What was she thinking–all that silver lamé fabric lookin’ like crumpled tin foil exploding from a trash can… (What was she thinking, a blog post about what drag queens taught them about writing…)

But that’s okay. Because the thing is, wholehearted commitment is stunningly compelling. The best queens make even the most ridiculous outfits look magical, simply by their commitment to their vision.

I wrote a while back about that insane blue jay who comes to visit. He struts his stuff like any drag queen would, even on the uneven fence edge. He trusts, he commits, he throws his whole self in. Do the same with your vision.

Put the bass in your walk

Ultimately we’re all just lip synching for our lives. Good luck, and don’t fuck it up.

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Stock image from Becs_Stock on deviantArt

Shimmer Goes Weightless

Considering all the cake I eat, it’s silly…being weightless…but of course I mean Weightless Books!

Shimmer 14 cover
Shimmer Issue 14

We are super stoked to announce that Shimmer is now available at Weightless Books. Our current issue, #14, is there, but all future issues will be there as well, and, of course, back issues!

For all your electronic Shimmery needs, you can easily access our page here, which includes cover art and sneak peeks at each and every story.

Back issues will be added in PDF-only, but future issues will be released in PDF, mobi, and epub, and of course they will be DRM-free.

Shimmer on, people. Shimmer on!

Shimmer #15

We are anticipating a spring release for Shimmer #15 and I wanted to give you a sneak peek of what’s coming!

“The Undertaker’s Son,” by Nicole Taylor takes us into the life of young Albert, a boy who has strange talents when it comes to the dead.

“What, Fireworks,” by Dustin Monk explores a curious town which may be anchored in our reality or another. This story calls to mind Nick Bantock’s Griffin and Sabine, because you’re not quite sure exactly where the ground is from moment to moment.

Ever had your email hacked? “Signal Jamming” by Oliver Buckram shows us a future where an escaped convict wreaks the worst possible havoc imaginable, via email.

Megan Arkenburg’s “Harrowing Emily” takes us on another journey with the dead, only her heroines are seemingly less skilled than young Albert.

K.M. Ferebee returns to Shimmer‘s pages with “The Bird Country,” a story that has haunted me since I first read it a couple years ago. I’m quite pleased to have it in this issue.

“A Cellar of Terrible Things” is opened by Mari Ness, and what happened there will haunt you.

Milo James Fowler brings us “Soulless in His Sight,” a story that evokes memories of The Road. We are exposed to a raw post-apocalyptic world where one truly needs a soul to survive.

As with every issue, we’ll have special online content relating to these stories, too, including interviews with the authors, giving you insight into their process for writing the stories.

With Shimmer #16, we’re expanding. More stories! More authors! More art! If you enjoy what Shimmer brings you, why not subscribe before the price goes up? Four issues, delivered hard copy or electronic. Your choice! We have wonderful things in store. Come with us!

Honored

Ellen Datlow has once again put together a list (starting here) of honorable mentions to accompany the stories in her Best Horror of the Year 4 collection. Shimmer is honored to have four stories on that list.

Congratulations to K.M. Ferebee (“Bullet Oracle Instinct”), L.L. Hannett (“Gutted”), E.C. Myers (“All the Lonely People”), and J.J. Irwin (“Haniver”).

You can find all four in Shimmer #13.

Thank you, Ellen!

By Any Other Name

I distinctly remember a set of submission guidelines from Marion Zimmer Bradley’s Fantasy magazine which said she wasn’t fond of pseudonyms (though had at least five herself). She said that one should shame the devil and tell the truth! Yet, it’s not always so easy, writing under one’s own name. Alice Sheldon certainly didn’t write under her own name. Is it different for men than it is women? Are there still reasons a woman might want to hide her gender when writing in the twenty-first century? Is there a need to hide one’s gender?

Christie Yant and Damien W. Grintalis inspired this post by a brief exchange on Twitter, in which they talked about pseudonyms. Christie said that when she was in junior high, she thought she would write under the name Chris so that no one would know she was female. I can actually understand that idea–it didn’t surprise me in the least bit.http://kiloword-design.deviantart.com/

When I first started writing, I went with E.C. Tobler, hoping that no one would know I was a girl. I wrote about sword fights and adventures on Mars and in Camelot; I wrote about strange voodoo dolls that came to life and ate people, and spooky graveyards filled with panthers who turned into sexy women, and I was surely just as awesome as all those men in the magazines I read (F&SF, Weird Tales, Asimov’s). So long as no one knew.

Why couldn’t they know? It’s strange and I don’t entirely know where it came from, but I remember having the distinct impression that I would not be welcome as myself.

When it came to settling on a name though, I went with E. Catherine Tobler, deciding that no editor would spell my first name properly, that no one would ever pronounce it well, either. The E stands for Elise, which is my name and what you should absolutely call me. In person though, I’m regularly called Elsie, Eliza, and even Eloise, by people who are too careless or hurried to take the time to actually put the letters in their proper order. In the end, that’s the only reason I modified my name for writing. Of course now, everyone who doesn’t know me calls me Catherine. That’s not so terrible…and does nothing to disguise my gender–and I’m perfectly okay with that.

I bugged Christie and Damien to talk a little more about this and they were gracious in doing so.

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 Damien W. Grintalis:

Did you ever consider writing under a pseudonym?

I thought about using either D. W. Grintalis or D. Walters Grintalis as a way to prevent any gender assumptions, but I decided against it. Maybe it’s silly and vain, but I like seeing my name attached to my work. I never considered using a completely different name.

Does an author’s name cause you presume something about the story/book before you’ve read? Do you think there’s a difference as to how readers approach that and how writers approach it?

If I go to the bookstore as a reader, unless I’m looking for a specific book by a specific author, I’ll wander around until something catches my eye. I’m drawn to titles and cover art first. Then I flip the book open and read the first page or two. If it grabs me, I buy it. I’ve purchased many books without even paying attention to the author’s name, which, as an author, seems terrible to say, but as a reader, I’m buying the story, not the writer. Their name/gender/race/ethnicity doesn’t matter.

From a writer’s perspective, though, my purchase method is very different. I buy a lot of books on recommendations from other writers, or I buy books written by authors I’ve come to know via Twitter and Facebook and such, so I already know something about them as a person. And yes, this is contrary to the method I use when I’m in ‘reader mode’. When I buy as a writer, I’m buying a specific author’s story, not just a story that catches my eye.

If it’s a first person story, do you presume the narrator shares the author’s gender?

No.

Do any of your favorite authors write under a pseudonym?

No. (At least I don’t think so.)

You’re in a curious position of being a female horror writer who has a male name. Has that caused you problems along the way? Amusements?

The biggest problem is also an amusement or perhaps it’s vice versa. Until I started putting a Ms. in front of my name in correspondence, I would be addressed as Mr. Grintalis. It was amusing the first few times, then I found myself getting irritated. I stopped to think about it and really, why wouldn’t someone assume I was a man? At that point I had two choices – stop getting irritated and simply deal with the gender assumption, or add Ms. and acknowledge my gender. I chose to add the Ms.. Why should I hide that I’m a woman? If someone chooses not to read my work based on my gender, so be it. I have no control over that.

But I think my name suits the horror genre well. I imagine if I wrote romance or some other genre that has a predominantly female audience, I might be inclined to soften my name a bit so there would be absolutely no gender confusion. Case in point: I was a professional belly dancer for many years and I used the name Damiena. I wanted to use my real name, but I knew incorrect assumptions would be made if I did, so I added the A at the end to feminize it.

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Christie Yant

Did you ever consider writing under a pseudonym?

When I was very young I assumed that only male authors were taken seriously and that I would need to hide my gender, so I had planned to write as Chris. I think I even considered taking a different last name, too (I was toying with Constantine at one time, if I recall) for weird personal reasons.

The gender thing is weird, though, because my favorite authors at the time were all women: Madeleine L’Engle, Meredith Ann Pierce, Lois Duncan. But I think I somehow thought they had always been Literary Giants, and were therefore somehow exempt from the limitations of what I perceived to be very much a man’s world.

Does an author’s name cause you presume something about the story/book before you’ve read?

As Robyn (@sheikyurbouti) pointed out, we all have these biases whether we want them or not, even if we become aware of them. So yes, even if I don’t realize it at the time. For example, I am more likely to assume a book is fantasy instead of SF if it’s written by a woman. I am likely to assume there’s a female protagonist.

Do you think there’s a difference as to how readers approach that and how writers approach it?

I think writers are probably more aware of the bias than non-writers are, because it’s our own careers at stake.

If it’s a first person story, do you presume the narrator shares the author’s gender?

Again, my instinctive biased brain says “yes.” Taking a step back, though, and giving it even a moment’s thought, I know it’s not true. I write both male and female protagonists, so why wouldn’t I assume than any other author does the same? But knowing that doesn’t prevent that first moment of seeing, say, “Claire” on the cover and my assuming on some level that between the covers there will be a woman protagonist. This assumption goes against experience and actual fact, but it’s still there.

The flip side of that is if I see initials on the cover, and the protagonist is female, I will probably decide the author’s gender by how the character is written, what happens to her, and how she handles it. THERE IS NO LOGICAL REASON FOR ME TO DO THIS. I keep emphasizing the fact that this is an unconscious thing because it’s a) embarrassing, b) most people don’t even acknowledge that such unconscious bias exists, and certainly not in THEMSELVES, and c) it is not representative of a person’s actual experience or ideals.

Do any of your favorite authors write under a pseudonym?

Yes, one does. Female, using a female name. I don’t know her reasons for doing so.

You mentioned that in junior high, you thought you would write under “Chris.” When did that idea change for you?

I think I still had that idea in my early 20’s, but by the time I got serious about it (at 30) I knew I wanted to write under my own name.

On a related note, there was a point of contention when I told my then-husband that I wanted to write under my maiden name–he didn’t like that, and I actually gave in at the time. I never was published under that name, though, and by the time I finally sold something we had divorced and I had taken back my maiden name.

A female author with many years of success behind her warns the women she teaches on this very point: She has been publishing under an ex-husband’s last name her entire career because that was her name when she first emerged.

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Reader, how about you? Hit us up in the comments. Do you write under a pseudonym?

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