“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.
“I enjoy going back to Lorain, Ohio because I’m reminded that the world of Washington and the East Coast literary establishment is a very narrow, special one that’s parochial in its own way. The rest of the world has other concerns: family, job and life in general. Whereas we get all up in arms about very minor things.”
Pulitzer Prize-winning book reviewer Michael Dirda rejoins the show to talk about his new collection, Browsings: A Year of Reading, Collecting, and Living with Books (Pegasus Books). We discuss the importance of reading for pleasure, the difference between book-collecting and shopping, the role of the book reviewer (and how it differs from that of the critic), a recent negative review he didn’t want to write, why he doesn’t read reviews of his work, what his mother said when he won the Pulitzer Prize, and more! Give it a listen!
“The books that you don’t grasp immediately, the ones that leave you off-kilter . . . those are often the books that really last, and matter.”
Our first three-time guest also talks about the democratization of book reviewing, the problems of storing books in his basement, what he wants an author to think upon reading his book review of a book, his affinity for Clive James’ work, whether his reviews have a coded autobiographical element to them, how the limitations of the book review form shaped his style, why he disagrees with John Clute’s philosophy on spoilers, and more!
We talk about a lot of books in this episode. Here’s a list of ’em (Note: if I ever go to a Patreon crowdfunding model for the show, this is the first thing that goes subscriber-only):
- Little Big Man – Thomas Berger
- Suspects – Thomas Berger
- The Creators: A History of Heroes of the Imagination – Daniel Boorstin
- The Discoverers – Daniel Boorstin
- Heart of Darkness – Joseph Conrad
- The Unquiet Grave: A Word Cycle by Palinurus – Cyril Connolly
- The Moving Toyshop – Edmund Crispin
- Browsings: A Year of Reading, Collecting, and Living with Books – Michael Dirda
- Readings: Essays and Literary Entertainments – Michael Dirda
- On Conan Doyle: Or, The Whole Art of Storytelling – Michael Dirda
- The Robe – Lloyd C. Douglas
- The New Lifetime Reading Plan: The Classical Guide to World Literature, Revised and Expanded – Clifton Fadiman
- Party of One – Clifton Fadiman
- Enter Conversing – Clifton Fadiman
- The Recognitions – William Gaddis
- Muse: A novel – Jonathan Galassi
- The Green Carnation – Robert Hichens
- The Odyssey – Homer
- Appleby’s End – Michael Innes
- Cultural Amnesia: Necessary Memories from History and the Arts – Clive James
- Kim – Rudyard Kipling
- Zorba the Greek – Nikos Kazantzakis
- Dazzle – Judith Krantz
- V R Lang: Poems & Plays with a Memoir – Alison Lurie
- Extraordinary Popular Delusions and The Madness of Crowds – Charles Mackay
- Bright Lights, Big City – Jay McInerney
- The Scarlet Pimpernel – Baroness Orczy
- Atlas Shrugged – Ayn Rand
- Burning the Days: Recollection – James Salter
- Memorable Days: The Selected Letters of James Salter and Robert Phelps
- Anathem – Neal Stephenson
- Walden – Thoreau
- Stoner – John Williams
- On Writing Well – William Zinsser
About our Guest
Michael Dirda is a weekly book columnist for The Washington Post, and he received the 1993 Pulitzer Prize for criticism. He is the author of the memoir, An Open Book: Chapters fom a Reader’s Life, and of four previous collections of essays: Readings: Essays and Literary Entertainments, Bound to Please, Book by Book: Notes on Reading and Life, and Classics for Pleasure, in addition to his newest collection, Browsings. His previous book, On Conan Doyle: Or, The Whole Art of Storytelling, received a 2012 Edgar Award for best critical/biographical work of the year. Michael Dirda graduated with Highest Honors in English from Oberlin College and earned a Ph.D. in comparative literature (medieval studies and European romanticism) from Cornell University. He is a contributor to The New York Review of Books, The Times Literary Supplement, the online Barnes & Noble Review, The American Spectator, and several other periodicals, as well as a frequent lecturer and an occasional college teacher.
Credits: This episode’s music is Ah, Putrefaction by Jaristo, from Hans Zimmer’s film music for Sherlock Holmes. The conversation was recorded at the Boston Marriott Burlington on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Dirda by me.