Zombie Soldiers

Check out my review of Silvia Moreno-Garcia’s “Cemetary Man”, which involves a doctor creating Frankensteinian creatures from soldiers to continue a war

Speculating Canada: Canadian Horror, Science Fiction, and Fantasy

A review of Silvia Moreno-Garcia’s “Cemetery Man” in This Strange Way of Dying (Exile Editions, Forthcoming 2013).

By Derek Newman-Stille

Cover photo courtesy of Silvia Moreno-Garcia. Artwork by Sara K. Diesel Cover photo courtesy of Silvia Moreno-Garcia. Artwork by Sara K. Diesel

When you are in a battle against an enemy that keeps bringing forth the resurrected dead, the worst thing that can happen is when you find yourself tended to by their doctor. In “Cemetery Man”, Catalina finds herself under the ministrations of a Frankensteinian doctor, affectionately called Cemetery Man. Pain runs through her body as Cemetery Man conducts experiments on her, changes her to suit his own ends and those of the military units that support him. He is the ultimate expression of the ability of science to be forced to express political ends. Research is placed above patient needs and the push of politicians for results causes a total abandonment of the statutes of medical care.

In a…

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Terms of Agreement – We Shall Be Monsters

By submitting to this anthology, you agree to the following, should your story be selected for publication :

0. DEFINITIONS

In this document,

“Publisher” designates Renaissance;

“Editors” designates the editors of the anthology (Derek Newman-Stille and Kate Story);

“Author” designates the author of the short story entering into this contract;

“Anthology” designates the work currently known as We Shall Be Monsters

“Work” designates short story being submitted by Author.

I. WARRANTS

Author guarantees that:

A. The Work is free and clear of any counts of libel, plagiarism, breach of privacy or misrepresentation of facts;

B. The Work does not infringe upon any copyright or proprietary right, common law or statutory law, and does not contain any material of libelous nature;

C. The Work is not in the public domain and the Author is the sole owner and copyright holder of the work with full power to enter into this contract.

II. GRANTOR OF RIGHTS

A. The Author, on behalf of themselves and their heirs, executors, administrators, and successors, agrees to grant the Publisher exclusive English language rights to produce, publish and sell the Work in print and electronic format, including bound books, digital books, email, download, disk, CD, or any other digital format known or to be invented.

B. Adaptations to other media (such as, but not limited to, film, television, graphic novel): should the publisher negotiate for adaptation rights to be sold to a third party on behalf of the author, the publisher shall be entitled to 5% of the proceeds of said sales. Author will have to give written permission for adaptation to be made, and Publisher shall endeavour to ensure the Author is as involved as he or she wished to be. Should the Author independently secure and negotiate the sale of the rights for an adaptation to be made, Publisher will not request compensation but will ask to retain the rights to sell the Work for a minimum of one (1) year following the release of the adaptation.

III. TERM

A. Print and Electronic Rights

A.1 Print and Electronic Rights will be exclusive for one (1) year commencing on the date of print publication of the Anthology. After such time, Publisher retains the non-exclusive right to sell the story in the anthology for four (4) years, during which time author is free to resell or reprint the Work.

A.2 Non-exclusive rights will automatically renew afterward each year unless Author requests their rights back. If the Author does request them back, they must do so in writing, and Publisher will revert the rights within thirty days of receiving written notice.

A.3 Print rights refer to the first edition of the anthology, in paperback and hardcover format. Electronic Rights refers to digital book, audio, CD, or any other format yet to be invented.

A.4 Non-exclusive, limited rights allow the publisher to keep selling the anthology in its current form. It does not give the Publisher rights to print the story by itself or in a new anthology.

B. Publisher may terminate contract at any time for reasons such as lack of cooperation or resolution of disagreements between author and publisher including but not limited to editing. Publisher also reserves the right to terminate based on slander or libel against the publisher, staff, or other authors, or failure to meet reasonable editing deadlines without notifying the publisher of a problem. In such an event, publisher will provide author with a first written warning before terminating the contract. Publisher must provide author with written notice of contract termination and author is not responsible for paying any editing, promotional, marketing, or book making fees.

C. Anthology production is subject to financing. Should financing fall through, Publisher reserves the right to terminate contract, after avenues are exhausted.

IV. MANUSCRIPT PREPARATION

A.     Author and Editors must work together to adhere to the Renaissance Press in house style guide. Publisher will not be held liable for lost manuscripts or defective disks. It shall be the responsibility of the Author to maintain back-up copies of any and all work(s).

B.     The Publisher shall make no changes in, additions to, or eliminations from the manuscript without Author’s consent. However, the Publisher may copyedit the Work in accordance with its standards of punctuation, spelling, capitalization, usage, and grammar. The copyedited manuscript shall be sent by the Publisher to the Author, who shall make any revisions and corrections and return it within two weeks of receipt. Any other edits will be requested of the author and agreed upon between the Author and the Publisher prior to preparation for sale. If the complete manuscript for the Work delivered by the Author is not acceptable to the Publisher, the Publisher shall give the Author a written request for changes and revisions for such Work.

C.     Should the work not be deemed fit for publication by the Publisher and the Author is unwilling to make the requested changes, Publisher reserves the right to declare this an unsolvable disagreement as per III.B, and terminate the contract. Publisher will not publish an altered version of the Work without Author’s consent.

V. COMPENSATION

A. The base rate offered is 0.03 cents per word, based on final word count of ready-to-print story.

B. The Author is responsible for paying their own taxes on payments received from Publisher and is advised to keep accurate records for tax purposes. It is the sole responsibility of the Author to attain all proper documentation according to their federal laws governing taxes.

C. Author shall each receive one (1) print copy of the anthology as a contributors copy.

VI. MARKETING AND PROMOTION

A. Authors shall provide Editors and Publisher with biographical information and author photos. Author gives Publisher the right to use Author’s name, likeness, title of work and biographical material for publishing, advertising and promoting the Work and the anthology.

B. Author agrees to participate in promotions which the publisher arranges, such as, but not limited to, blog tours, interviews, discussions, sales table at events, etc. Publisher will schedule them around the Author’ availability, which the Author agrees to provide. Such promotional activities are voluntary and will not put an undue burden on the Editors’ health, work, or family obligations.

E. For the first year of this agreement, during which rights are exclusive, Author may use up to 20% of the work (but no complete short story) to post on their website or to give away as “teasers” to promote the work, provided it includes a link to the Publisher’s website. After that year is up, Author is free to distribute Work as they please.

G. Author grants Editors and Publisher permission to include excerpts and bios in press releases to other industry resources for marketing purposes.

VII. ASSIGNMENT

A. Renaissance Press may at any time sell itself, or the majority of itself, its holdings, or licenses. Current contracts would transfer to the new owner.

B. Bankruptcy: If Renaissance Press is legally judged bankrupt or liquidates its business, this Contract shall be terminated effectively and all rights granted to “Renaissance” shall revert back to Authors.

C. Rights: If Publisher suspends operations, removes website from the internet or fails to respond to any written or electronic correspondence, other than a temporary suspension for technical difficulties such as a loss of Web Server or other suspensions not lasting more than sixty (60) days, all rights outlined in this agreement are terminated and all rights are immediately reverted to the Author, as of 30 days after last successful contact.

IX. ENTIRE AGREEMENT

A. These terms hereby constitute the entire agreement between Author and Publisher and supersedes all previous agreements regarding the Work, whether oral or in writing. Modification of these terms may only occur in writing, signed by both parties.

 

 

Our Kickstarter is LIVE

It’s Aliiiiiiive

Check out our Kickstarter for this project at https://www.kickstarter.com/projects/1357195744/we-shall-be-monsters-frankenstein-two-centuries-on

We Shall be Monsters: Mary Shelley’s Frankenstein Two Centuries On

Edited by Kate Story and Derek Newman-Stille

Published by Renaissance Press

“It is true, we shall be monsters, cut off from all the world; but on that account we shall be more attached to one another.” Mary Shelley, Frankenstein

Mary Shelley published Frankenstein in 1818, sparking the genres of horror and science fiction. On this, the 200th anniversary of its publication, the narrative is more relevant than ever. We live in an age where we need to ask critical questions about the limits of science. How do scientific pursuits relate to the body? Attention to issues of disability leads us to consider how identity relates to the body, and how the body can shift and change over time. Shelley’s bodily assemblage – a collective of parts given life – still shapes our ideas about ourselves, and about what we create to be our monsters. This anthology will gather together tales inspired by Shelley’s strange alchemy, lightning strikes of inspiration from Frankenstein.

We Shall Be Monsters: Mary Shelley’s Frankenstein Two Centuries On will feature a broad range of fiction stories, from direct interactions with Shelley’s texts to explorations of the stitched, assembled body and narrative experiments in monstrous creations. We Shall Be Monsters is a fiction collection that will feature explorations of disability through Frankenstein, queer and trans identity, ideas of race and colonialism. Shelley’s story provides a space for exploring a multitude of identities through the figure of the sympathetic outsider. Frankenstein’s “monster” is a figure of Otherness, and one that can tell stories of exclusion and social oppression.

Although this anthology will feature some established authors, we also hope to add a good mix of emerging and underrepresented voices to the anthology. For that purpose, we are running a call for submissions to which you can participate right here: https://weshallbemonsters.wordpress.com

About the Editors 

Derek Newman-Stille is a 7-time winner of the Prix Aurora Award, the highest award in Canadian Science Fiction and Fantasy. He is currently also editing Over the Rainbow: Folk and Fairy Talesfrom the Margins (Exile, 2018), and has written for publications like Quill & Quire, Accessing the Future and The Playground of Lost Toys. He has published academic works in works like The Canadian Fantastic in Focus, Mosaic: A Journal for the Interdisciplinary Study of Literature, and Misfit Children: An Inquiry into Childhood Belongings. In his academic life, Derek is a scholar of disability and queer studies, examining how popular media portray oppressed identities. In his role as a critic, writer, and interviewer, Derek seeks to open up discussions about speculative fiction, fantastica, and the imagination.

Kate Story is a writer and performer. A Newfoundlander living in Ontario, her first novel Blasted(Killick Press) received the Sunburst Award for Canadian Literature of the Fantastic’s honourable mention. She is the 2015 recipient of the Ontario Arts Foundation’s K.M. Hunter Award for her work in theatre. Her short stories have been published in World Fantasy and Aurora Award-nominated collections. This year her third novel This Insubstantial Pageantcomes out with ChiZine Publications.

About the Project 

The Kickstarter project for We Shall be Monsters: Mary Shelley’s Frankenstein Two Centuries On seeks to raise funds to support our authors and the publishing costs of the project to ensure that authors get fair compensation for their work.

 

 

Pledge to support the project at

https://www.kickstarter.com/projects/1357195744/we-shall-be-monsters-frankenstein-two-centuries-on

Submission Guidelines for We Shall Be Monsters: Frankenstein Two Centuries On

Submission Guidelines:

We Shall Be Monsters: Frankenstein Two Centuries On

 

Edited by Kate Story and Derek Newman-Stille

To be published by Renaissance Press

 

Mary Shelley published Frankenstein in 1818, sparking the genres of horror and science fiction. On this, the 200th anniversary of its publication, the narrative is more relevant than ever. We live in an age where we need to ask critical questions about the limits of science. How do scientific pursuits relate to the body? Attention to issues of disability lead us to consider how identity relates to the body, and how the body can shift and change over time. Shelley’s bodily assemblage – a collective of parts given life – still shapes our ideas about ourselves, and about what we create to be our monsters. This anthology will gather together tales inspired by Shelley’s strange alchemy, lightning strikes of inspiration from Frankenstein. We are looking for a broad range of stories, from direct interactions with Shelley’s texts to explorations of the stitched, assembled body and narrative experiments in monstrous creations.

We Shall Be Monsters is a fiction collection that will feature explorations of disability through Frankenstein, queer and trans identity, ideas of race and colonialism. Shelley’s story provides a space for exploring a multitude of identities through the figure of the sympathetic outsider. Frankenstein’s “monster” is a figure of Otherness, and one that can tell stories of exclusion and social oppression.

Stories do not need to be JUST about Frankenstein or his monster. We hope to get stories that play with ideas around Frankenstein and inspired by the theme. Of course, we want some stories that deal with Mary Shelley’s text.

For this anniversary anthology, we are looking for short stories of 2000-7500 words in length, poetry up to 500 words in length, and graphic narratives (comics) up to 6 pages. We are only interested in previously unpublished works.

 

Renaissance Press currently offers 3 cents per word, but we are launching a Kickstarter to try to raise the amount that authors will be paid for submissions. You can support the kickstarter or encourage others to support it at https://www.kickstarter.com/projects/1357195744/we-shall-be-monsters-frankenstein-two-centuries-on

 

We are interested in new imaginings of the Frankenstein mythos. For example:

  • What if Mary Shelley was the scientist who created the Monster?
  • What if Frankenstein had finished making a mate for the Monster?
  • What if the Monster had reached the “New World”?
  • What if the Monster joined a circus?
  • What if Frankenstein’s monster met Dracula?
  • What if Dr. Frankenstein had created other monstrous assemblages before he created his “monster”
  • What is it like to be Dr. Frankenstein’s lab assistant?
  • What if Dr. Frankenstein had actually raised his creation?
  • What if the military decided to weaponize Frankenstein’s Monster?

 

 

 

We want your stories of science gone wrong, your tales of monstrous creations, your imaginings about bodily assemblages, and other creations that your minds can create.

 

SUBMISSION DETAILS:

Your submission can be in any genre that suits the theme of your story.

Length: 2000 to 7500 words for short fiction, but it will be easier to place shorter works

500 words maximum for poetry

6 pages for graphic fiction (comics)

Payment: 3 cents/word (CAD) for original fiction, and a contributor’s copy.

Canadian citizens (living in Canada and/or paying taxes in Canada) and permanent residents of Canada will receive preferred status.

We encourage authors from a wide range of diverse voices and interpretations, including writers of colour and of indigenous/Native heritage, Francophone writers, writers with disabilities, LGBTQ2IA+ (or QUILTBAG or Queer-identified) writers, and new generation writers (aged 18-30).

No multiple submissions. If you received a rejection before the deadline, you may submit a new work.

We are looking for original fiction only. No reprints, please.

Submit stories in standard manuscript format as a .doc, .docx, or RTF with indented paragraphs, italics in in italics, and bold in bold. Include full contact information and word count on the first page. Include a cover letter (name, story title, and word count, contact information, previous publications) in the body of the email.

Submissions in English only, although stories translated into English are also acceptable.

Rights purchased: First English-Language Rights & Non-exclusive Anthology Rights (Print and eBook).

Indicate in the subject line: Submission: Story Title, Last Name.

DEADLINE: December 30, 2017

Please submit your stories to shallbemonsters@gmail.com

 

SUPPORT THE PROJECT

Remember that you can support the kickstarter for this project at https://www.kickstarter.com/projects/1357195744/we-shall-be-monsters-frankenstein-two-centuries-on