How To Send Me Money And Allow Me The Cocaine Habit I’ve Always Wanted

Yay! My story “Tornado Girl” has been accepted into More Quick Shivers, an upcoming anthology from website The Daily Nightmare. This is an interesting idea: each story is based on one of the real nightmares posted on the site, and has to be exactly 100 words long. Also, the text is presented in very visual and emotive ways, so that each tale is as much visual art as it is a short story. Looking forward to seeing this one… though of course I look forward to seeing everything I’m in, like Terror At The Beach, which may be out as soon as early August.

Adapting someone else’s vision is not a common thing for me; the only other times I’ve been required to do it were two set tasks for writing class at my MAPS course in 2010. I adapted a short story (“Train”) by classmate Anne Frazer into a short film script called “The Steel Fist Of Destiny”, avoiding my usual horror leanings in favour of a neo-noir comedy, and wrote another script based on a section of the painting Cahill Expressway by Jeffrey Smart (see it here) – this was called “Sugar, Sugar” and was later adapted again into a short story. It’s an interesting process, and I look forward to trampling all over someone else’s ideas in the future.

In music news… I’M ON VINYL! Green vinyl, no less! The icecocoon 7″ singles arrived last week. Keep an eye on the band website, as they’ll be available shortly. We’ll also be debuting the newest line-up in Adelaide soon – we expect to be gigging from October.
2014-07-24 14.03.00
It’s been a slow news month for fiction. I have a whole slew of submissions that I could be hearing back about any day, but I’m not… yet. Otherwise, I’ve been working on editing, as well as knocking out another short story that currently goes by the name of “A Lost And Lonely Fire”. It was intended for an anthology called Strange Little Girls, but I came right up against the deadline before realising that there was just too much work to be done in the second draft, that the story would suffer if restricted to 8,000 words when 10,000 would give it the room it needs to breathe.

Okay, so here’s the dry list of some stuff I’ve been reading: The Girl With No Hands by Angela Slatter, The Vale Girl by Nelika McDonald, Gone Girl by Gillian Flynn, House Of Small Shadows by Adam Nevill, Preacher (graphic novels) by Garth Ennis and Steve Dillon, Barracuda by Christos Tsiolkas, Life’s Lottery by Kim Newman, The Crow: The Lazarus Heart by Poppy Z. Brite. And I’ve been cranking Godflesh, Arctic Monkeys, Sade, Primus, Mastodon, Lana Del Rey, Love And Rockets, Redman, The Roots, Prince, Missy Elliott, Me’Shell Ndegeocello, TISM, and so on.

Actually, now that I mention Barracuda, here’s something I found interesting: my copy is an uncorrected proof, which I assume is sent out early to garner reviews before the release proper, and it’s rife with mistakes – spelling errors, mis-keys and such. As a naïf who is yet to discover the ways of such things, I’m left wondering how the text got in this state. Surely the author didn’t send in his manuscript in this condition, because an author does these finicky little things we professionals know as “spellchecking” and “reading what we’ve written”. So is it the fault of the typesetters, or whoever takes that role now? Perhaps Tsiolkas writes by hand, and this is the initial transcription to type – but then, wouldn’t they at least give it a once-over before sending it out? Personally, I would be mortified to have an uncorrected proof go out and have even one person get the impression that I’m a slapdash or sloppy writer. (Man, when my shit goes out, it’s watertight.)

Oh, and one more thing: I’ve updated my bibliography, so that stories now have a link to purchase or read online.

Right. That’ll do, pig. That’ll do.
– MRD …x…


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