A new mini-collection available from yours truly-- three stories, all about art and even art forgery. It was great fun to invent some painters who paint as I would! This includes one of my personal favorite stories, "Kindred Spirits," which was first published in Rose Red Review-- and a story that I plan to continue, "The Captain's House," first published (As "After the Revolution" in The Linnet's Wings. This is a short read, perfect for a lunch time break. For those enrolled in Kindle Unlimited, the book is free.
Reviewers, please feel free to contact me for a review copy -- Facebook, email or a comment below.
You may purchase the book (.99) at here, at Amazon. It is Kindle edition, which can be read on all devices.
Today’s interview is with one of my favorite editors, Eric Bosarge. He founded the humor magazine, Eric's Hysterics and edited the short story anthology, LOVE HURTS! (Note: while the magazine is closed to submissions, it's still available online if you're in the mood to laugh.)
SARETT: What was your impetus for starting Eric's Hysterics?
BORSAGE: I wanted to submit something funny that I had written but couldn’t find a suitable home. I decided that meant there was a niche I could exploit. To be honest, I didn’t expect it to work. I never expected to produce a print anthology. The thing took on a life of its own in a "field of dreams" sort of way.
SARETT: What are the ingredients that make a good fiction magazine editor?
BORSAGE: Being able to recognize that the simplest fix is usually the best. Writers and artists get touchy when someone insists on changes. It’s important to make sure any suggestions will enhance their vision, not yours.
SARETT: Humor is tough. What do you feel most humorists or would-be-humorists get wrong?
BORSAGE: Two common problems were the this will be funny if I use a sarcastic, witty voice designed more to imply humor than actually be funny kind of attitude, and making improbable, unbelievable premises and conflicts the heart of the story. To address the first, a good, funny story only needs one funny line per page, sometimes even less. It’s better to be genuinely funny once, than fake funny all the time. You can’t force it. Second, it’s one thing to attempt the theater of the absurd, but the reader still must bear the weight of disbelief. Unbelievable premises or characters are doomed to failure.
SARETT; I’ve heard that writers who are rejected write back and argue. Does that happen or is that a myth?
BORSAGE: It does happen. I’d rather not comment on specific instances, but remind writers that each time they leave a bookstore, they leave thousands of books behind, and it’s nothing personal. It’s the same with rejection letters. You’re trying to sell a manuscript to people who are browsing, hoping what you have will fit their interests. Style and skill helps to attract editors, of course, but most often rejection is about fit for a particular market.
SARETT: Any favorite humorists that you’d like to share with readers-- novelists, essayists or short fiction writers?
BORSAGE: Besides the blogger conducting this interview? (wink wink):
--Wayne Scheer is a machine, with something like seven pieces featured on Eric's Hysterics. His work was always a pleasure to read.
--Mike Heartz, whom I see you're familiar with, is just waiting to be discovered. I am amazed a top editor hasn’t latched onto him. He’s one to watch.
--Josh Sampson, one of the writers we featured early on, has the drive needed to succeed. His revisions to a story (featured on the site) blew me away.
--Helen Peppe’s memoir PIGS CAN'T SWIM is currently atop the bestseller list, and rightfully so. I’ve used her short fiction piece “The Situation and the Story” to set the stage for writer’s workshops.
SARETT: Would you ever think about a new magazine, or is it, been there, done that?
I want to pursue something, but not without the backing of either a Kickstarter-type campaign or a major publisher. It probably won’t be humor. I’m working on a novel and enjoying the pleasant distractions of home ownership and family life.
I read a lot so I was intrigued to hear about Scribd and Oyster, two entries into the "e-book subscription" business. A low monthly fee for all the books you can read, which sounds like a great deal. Both services have prompted comparisons to the the streaming video (and DVD rental) service, Netflix.
Netflix started as a DVD rental alternative with a far deeper inventory, especially of rare, foreign and classic films, than video stores. When streaming video arrived, savvy Netflix offered series from Showtime, HBO and the BBC, mostly to compensate for the meager inventory on the streaming video side. For many subscribers, who combine DVD with streaming video, Netflix remains the best place to find films and TV.
So how do Oyster and Scribd perform?
I do love reading about Philadelphia history, especially of the Revolutionary War period. I own quite a few books, but wanted more. So, I hopped over to Scribd and searched "Philadelphia history." My search yielded mostly sports books or fiction (?) On Oyster (which required payment info before I could search!) browsing looked tough.
In case you're wondering, Amazon quickly spit out a list of 16 books. I bought a few. I think we're a long way from a Netflix of books.
Oh, the irony. A big fat publisher who represents big authors is now the hero in a fake David vs. Goliath tale. Hachette, one of the companies who fought to keep e-book prices high (as high as their print counterparts, in many cases) is now whining that it just can't get a good deal. And Amazon, which has revolutionized book-selling as well as publishing, is characterized as a "bully" that is trampling on Hachette's invented rights.
In fact, Hachette has lots of other big retailers to hawk their books, just as Amazon has lots of other content for consumers to buy. Those brand-name authors who are losing "pre-sales" hardly lack distribution channels. If a reader is dying to read, say, Kate Atkinson, she can find Kate on at least six other online retailers, including iBooks-- online, it's a click away. (Isn't content supposed to be king? Would I stop reading an author because I couldn't buy on Amazon? I think not.)
What's the reality? Not only are readers addicted to sales (in clothes, in stores, everywhere,) but they are becoming increasingly addicted to free content (which, in digital, is ubiquitous.) Inflating prices (which is essentially what publishers like Hachette want) is in no one's long-term interests as Hugh Howey argues in The Guardian. Higher prices will mean, ultimately, fewer readers for everyone. Now, that's dopey.