Short fiction anthologies come in many flavors: some contain original fiction and some are comprised of reprints; they can be themed or non-themed; they may restrict themselves to a certain sub-genre of speculative fiction… But one thing they all have in common is that it’s Editors that put them together.
This week, we asked a handful of Editors the following question:
Q: Can you describe what goes on behind the scenes – from conception to publication — when creating a short fiction anthology?
Read on to see their illuminating responses…
(See also Part 2 and Part 3)
World Fantasy Award winner Jeff VanderMeer
grew up in the Fiji Islands and has had fiction published in over 20 countries. His books, including the bestselling City of Saints & Madmen
, have made the year’s best lists of Publishers Weekly
, LA Weekly
, Amazon, the San Francisco Chronicle
, and many more. He reviews books for, among others, the New York Times Book Review
, the Washington Post Book World
, and the Barnes & Noble Review
, as well as being a regular columnist for the Omnivoracious book blog. Current projects include Booklife: Strategies and Survival Tips for the 21st-Century Writer
, the noir fantasy novel Finch
, and the forthcoming definitive Steampunk Bible
from Abrams Books. He maintains a blog at http://www.jeffvandermeer.com
This is a tough question, because almost every anthology I’ve done with Ann or by myself or with someone else has been different from the others. Even Steampunk and New Weird involved completely different methodologies–in the case of the former, we were trying to identify iconic stories and in the case of the latter we were mapping/documenting the legitimacy of a “movement” that I’d been around to witness the inception of. Our current project, Last Drink Bird Head, is a flash fiction antho for literacy charities with over 80 contributors. Fast Ships, Black Sails was a straightforward commercial pirate story anthology. The Thackery T. Lambshead Pocket Guide to Eccentric & Discredited Diseases played around with the whole idea of what’s fiction versus nonfiction and indirectly charted the life of its titular character. The Leviathan anthologies focused on surreal and proto-New Weird or post-New Wave fiction, but each with a different theme and focus. Album Zutique was unabashed Decadent and Surrealist-inspired fiction. Being guest editors for Best American Fantasy was another kind of challenge, because we’d never done a year’s best before, and that carries with it a different set of responsibilities. Our upcoming Clarion charity anthology, The Leonardo Variations, is both an anthology of fiction and a teaching anthology that, through its stories and nonfiction in the back, should be of great use to beginning writers. That poses its own challenges. I guess the point is, behind the scenes each of these books has gone through a different process, both in terms of its creation and in terms of the process of preparation. This keeps things fresh and interesting–I’m not particularly interested in repeating myself with regard to books, whether my own fiction or the anthologies I create with Ann, and I don’t think Ann is, either.
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