QUOTE/BOOK OF THE WEEK: February 9, 2015

Instead of offering up a particular quote from a written work that I found exceptionally moving or compelling, I've decided to reference an entire book as inspiring and compelling. Being an aficionado of the darker side of literature, I like to think I'm case-hardened and that no written work can deeply disturb me given my familiarity with the genre. JF Gonzalez's SURVIVOR is one of the few novels that has tested my endurance and genuinely captivated and repulsed me with its extreme content. That's not to say, however, that the work is merely an excuse for gratuitous violence; in fact, the piece explores basic human survival instincts and the extreme sacrifices people make in order to simply escape certain perilous circumstances.

The book follows a couple and their romantic weekend getaway that quickly descends into a realm of depravity after a small band of assailants kidnap Lisa and plan to feature her in a "snuff film." Lisa, several months pregnant, desperately struggles to survive and makes a very unsettling deal with her kidnappers in order to survive - a deal she soon comes to regret, unfortunately.

Although I've only read the book once, I anticipate I will return to SURVIVOR time and time again for literary inspiration. The book is truly commendable in its delivery of captivating and enthralling characters and its ability to genuinely unsettle the reader. This is undoubtedly a book that will not appeal to everybody.  Regardless, for those who prefer high-octane unrelenting visceral horror fiction - look no further than JF Gonzalez's masterpiece, SURVIVOR.

MUSIC OF THE WEEK: February 9, 2015

Some might consider her the quirky Welsh equivalent of Katy Perry while others consider her unique and commendable in her own right; regardless of the public view, Marina Diamandis from Marina and the Diamonds is perhaps one of the most innovative and musically interesting artists operating in the music industry today. Widely applauded for her fashion style of amalgamating vintage elements with quirky cartoon sensibilities, Marina's voice and songwriting talents are far more recognized in the public eye. With already two relatively successful and well-received albums beneath her belt, Marina is currently on the press tour for her latest endeavor entitled, Froot. The new album is a departure from her previous effort, Electra Heart, which incorporated elements of electronic pop music and returns to the sonic elements of her first album, The Family Jewels, which borrowed materials from indie rock as well as new wave.

While the titular track of the upcoming album, Froot, is captivating and incorporates lighthearted 70's inspired disco elements, Marina's latest single from her upcoming project, entitled "Forget", is exceptionally inspired. The lyrics are relatively uncomplicated and mainly preach the philosophy of abandoning regret and moving on from one's mistakes. It's definitely a song to which I've been returning more and more frequently since I first heard it.

REFERENCE OF THE WEEK: February 9, 2015

A fantastically written and edited book dedicated to analyzing and promoting the best ways possible to craft compelling monsters in contemporary horror and science fiction material is entitled, Writing Monsters. The book's writer, Phillip Athans, not only borrows examples of successful and awe-inspiring creatures from literature, but cites familiar ones from film and television in order to substantiate his point. In the simplest of terms, Athans' text is a means by which to educate fledgling authors the proverbial "building blocks" by which to efficaciously creature a monster of ghastly proportions that will successfully shock, disgust, and/or terrify potential readers. Throughout the book, Athans analyzes the themes certain monsters symbolize, the archetypes of certain infamous monsters, and, most importantly, how these ideas can best be portrayed on the fiction landscape. Athans' text is uncomplicated, unpretentious, and therefore accessible to any reader and lover of speculative fiction.

Pick up a copy here: http://www.amazon.com/Writing-Monsters-Believably-Terrifying-Creatures/dp/1599638088/ref=tmm_pap_title_0?ie=UTF8&qid=1425850564&sr=8-6

GOOF OF THE WEEK: March 2, 2015

Although Mississippi's literacy program may show improvement, there is hardly any grammatical improvement with regard to the integrity of the Associated Press. Here we have a blatant spelling mistake that's exceptionally ironic considering the fact that the article concerns a program dedicated to encouraging literacy in the state of Mississippi.

Really?

QUOTE OF THE WEEK: March 2, 2015

One of the most significant and disturbing voices of horror fiction in the late 20th century was undoubtedly Clive Barker. Born in Liverpool, England, Barker struggled for years with his touring theatrical company before exploding onto the horror literary scene with the publication of his Books of Blood. His debut work was a Grand Guignol inspired collection of short stories devoted to exploring the perverted, disgusting, and the uncanny. Horror icon Stephen King was quoted as saying, "I have seen the future of horror. Its name is Clive Barker." With that impressive kind of benediction, Barker went on to become one of the greatest best-selling authors all time and was responsible for adapting several of his pieces into successful films, such as, Hellraiser and Lord of Illusions.

One of Barker's most recognized and praised works is a novella published in 1986 entitled, The Hellbound Heart. The text is what would eventually become the basis for the 1987 film, Hellraiser. Barker's piece concentrates on a mysterious puzzle box that, when solved correctly, has the potential to open up another dimension engineered by creatures, known as the Cenobites, who are connoisseurs of extreme sensual experiences and skilled in the art of pain and agony. The piece maintains the high-octane viscerally graphic prose that Barker first introduced to his readers in his iconic Books of Blood collection.

One of my favorite passages in Barker's novella is when dissatisfied housewife, Julia, encounters the grotesque reanimated remnants of her former lover, Frank, who has just escaped from the dimension of the Cenobites.

It was human, she saw, or had been. But the body had been ripped apart and sewn together again with most of its pieces either missing or twisted and blackened as if in a furnace. There was an eye, gleaming at her, and the ladder of a spine, the vertebrae stripped of muscle, a few unrecognizable fragments of anatomy. That was it. That such a thing might live beggared reason what little flesh it owned was hopelessly corrupted. Yet live it did. Its eye, despite the rot it was rooted in, scanned her every inch, up and down. She felt no fear in its presence. This thing was weaker than her by far. It moved a little in its cell, looking for some modicum of comfort. But there was none to be had, not for a creature that wore its frayed nerves on its bleeding sleeve. Every place it might lay its body brought pain: this she knew indisputably. She pitied it. And with pity came release. Her body expelled dead air, and sucked in living. Her oxygen-starved brain reeled. Even as she did so it spoke, a hole opening up in the flayed ball of the monster's head and issued a single, weightless word. The word was: "Julia."

REFERENCE OF THE WEEK: March 2, 2015

Horror 101: The Way Forward is perhaps one of the most helpful and insightful texts devoted to analyzing and emphasizing the complexities regarding the art of horror writing. Although the piece was published by a small and not very well known press, Crystal Lake Publishing, the work has received rave reviews from critics and readers alike for its sharp and uncomplicated method of instruction. Horror 101 collects essays from various big guns in the field of speculative fiction that are savvy and extraordinarily perceptive. These collected essays are not only helpful for beginners in the field, but are essential to authors with pro sales under their belt as many of the discourses discuss the means by which to increase productivity, balance art and commerce, and strengthen one's fan base, and deal with editors and the business side of the publishing industry. The book's roster is impressive to say the least and boasts successful names such as, Ramsey Campbell, Edward Lee, and Graham Masterton. Perhaps one of the most helpful essays in the entire collection is written by Campbell and is entitled, "Avoiding What's Been Done to Death." This article is especially vital to any writer of dark fiction (pro or novice) as originality in any creative work is fundamental. Horror 101 is certainly a lesser known reference text; however, the insight it offers is irreplaceable.

COPYEDITOR'S HANDBOOK, Beyond Grammar: February 23, 2015

In the chapter, “Beyond Grammar,” our book analyzes the four primary areas with which copyeditors struggle including, organization, expository style, bias-free language, and publishing law. First, we learn the regulations regarding organization and the means by which material is segmented in order to accentuate a certain kind of structure. There of course are countless forms of organizations. Different techniques such as, alphabetical organization, chronological order, numerical order, and others have separate guidelines. Second, we learn of the importance of expository style and how it is imperative that a copyeditor not influence or several impress their own style upon the piece with which they’re reviewing. Judgments about a writer’s style are often extremely difficult for a copyeditor and certainly a sensitive subject. The copyeditor commonly has to pause and reflect on whether their motivation to correct something in a manuscript stems from the unavoidable fact that the writer has made an error or if their motivation is propelled by their own certain sense of style.

Then, we learn about bias-free language, which is especially significant seeing as it negates any outlet for stereotyping certain classes, religions, orientations within the text of a document. The purpose is certainly not to discourage an author’s point-of-view, but rather prevent them from offending, sidelining, or ignoring an entire group of people. Finally, the chapter explores the importance publishing law. The chapter asserts that it’s commonly the book copyeditor’s responsibility to alert the editorial coordinator whether or not there is material within a manuscript that might prompt a lawsuit. This is an especially significant aspect of not only the copyediting process, but the publishing process in general as legal issues are a very common threat to any newly published material.