“The biggest part of the editor’s job is asking questions. If something’s not on the page, you have to ask the writer.”
Legendary (as in mega-award-winning) horror, science fiction and fantasy editor Ellen Datlow joins the show to talk about her career. We get into defining horror (and its subset, the conte cruel), how the business has changed and hasn’t, the proper care and feeding of writers, dealing with diversity and representation in the anthologies she edits, finding good stories in translation, the pros and cons of blurring genre boundaries, keeping up with new voices, her preference for editing short fiction over novels, the writers she wishes she solicited stories from, running the monthly Fantastic Fiction reading series at the KGB Bar, the editing lesson she got from Ben Bova, and why it’s never good when an author says, “This is the best thing I’ve ever written”! Give it a listen!
“Anytime a writer sends me a story and tells me it’s the best thing they’ve ever written, it’s always shit.”
About our Guest
Ellen Datlow has been editing science fiction, fantasy, and horror short fiction for over thirty-five years as fiction editor of OMNI Magazine and editor of Event Horizon and SCIFICTION. She currently acquires short fiction for Tor.com. In addition, she has edited more than 90 science fiction, fantasy, and horror anthologies, including the annual The Best Horror of the Year, The Doll Collection, The Monstrous, Children of Lovecraft, Nightmares: A New Decade of Modern Horror, and Black Feathers.
Her forthcoming anthologies are Haunted Nights: A Horror Writers Association anthology (with Lisa Morton), and Mad Hatters and March Hares (stories inspired by Alice’s Adventures in in Wonderland, and Through the Looking Glass and What Alice Found There).
Ellen has won multiple World Fantasy Awards, Locus Awards, Hugo Awards, Stoker Awards, International Horror Guild Awards, Shirley Jackson Awards, and the 2012 Il Posto Nero Black Spot Award for Excellence as Best Foreign Editor. She was named recipient of the 2007 Karl Edward Wagner Award, given at the British Fantasy Convention for “outstanding contribution to the genre,” was honored with the Life Achievement Award by the Horror Writers Association in acknowledgment of superior achievement over an entire career, and honored with the World Fantasy Life Achievement Award at the 2014 World Fantasy Convention.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at Ms. Datlow’s apartment on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photos of Ellen Datlow by me. They’re on my instagram.
“For years, my basic rejection letter would use ‘alas,’ and the SF community picked up on that and started calling them ‘alas-o-grams.'”
Editor/publisher Gordon Van Gelder joins the show to talk about his career in the science fiction and fantasy fields. We get into publishing F&SF Magazine, coping with burnout, balancing the demands of art and business, exploring the differences between editing for magazines vs. anthologies, trying to avoid disruption, handling diversity issues without implementing a quota, figuring out the dystopian theme of his current run of anthologies, dealing with the cultural, um, norms of stories of past decades, avoiding the perils of chasing “name” authors and rejecting a story by Ray Bradbury, making the shift from print to online, watching new writers develop a strong voice, working with the necessary egotism of writers, explaining how the internet has wrecked SF/F criticism, and more! Give it a listen! And go buy his new anthology, Go Forth And Multiply: Twelve Tales of Repopulation (Ramble House)!
“The best stories transcend race and gender. . . . On the page, everyone is black and white.”
About our Guest
Gordon Van Gelder published his first story in 100 Great Fantasy Short, Short Stories in 1984 but the majority of his career has been spent as an editor. After a brief internship at Bluejay Books in 1986, he began working at St. Martin’s Press in July 1988. He worked there for 12 years, during which time he worked with such authors as J. G. Ballard, Jack Cady, Bradley Denton, George Pelecanos, and Kate Wilhelm. In 1997, he succeeded Kristine Kathryn Rusch as editor of The Magazine of Fantasy & Science Fiction. He spent 18 years as the magazine’s editor before handing the reins to C. C. Finlay at the start of 2015. He lives in New Jersey with his family and continues to publish F&SF.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at the Boston Marriott Quincy during Readercon weekend on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of GVG in a tie, by Leslie Howle, and photo of GVG in a blue Yankees t-shirt, by Al Bogdan, so they’re not on my instagram.
“Every one of my novels has had at least a portion where I’ve thought, ‘if I do this badly, it’s going to be terribly embarrassing and I’m going to have to hang my head in shame forever, but if I pull it off, it’ll probably be pretty cool!'”
Novelist Matt Ruff joins the show to talk about how his fantastic novel Lovecraft Country began as a TV pitch 10 years ago, and is now on its way to becoming an HBO series. We get into cultural appropriation issues (Matt’s white and LC‘s about a black family dealing with racism and the supernatural in 1950s Chicago), the pros and cons of genre-hopping, the differences between mid-century racism in the North and the South, growing up over the course of his first three novels and learning to be happy with his voice, becoming friends with one of his favorite authors (past and future pod-guest John Crowley), his ambivalence toward HP Lovecraft and Philip K. Dick and his affinity for their imitators, why he loved the descriptions of late Heinlein novels but was disappointed by the books themselves (when he was 12!), bucking his family’s religious traditions, missing his opportunity to babysit Thomas Pynchon’s kid, and more! Give it a listen! And go buy Lovecraft Country!
“I intended for Lovecraft Country to be a TV series, so I thought, ‘What if I do the literary equivalent of a season that you binge-watch?’ That’s why the novel is structured very much like an 8-episode TV season.”
About our Guest
Matt Ruff is the author of the novels Fool on The Hill (1988), Sewer, Gas & Electric: The Public Works Trilogy (1997), Set This House in Order: A Romance of Souls (2003), Bad Monkeys (2007), The Mirage (2012), and Lovecraft Country (2016), which was recently greenlit as an HBO series.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at Mr. Ruff’s home on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of Mr. Ruff by me. It’s on my instagram.