The HWA extends a warm welcome to the following new and returning members who have joined in the past month. For any questions about membership, please contact firstname.lastname@example.org.
Janet Leigh Green
Note: Don D’Auria (formerly of Leisure Books and Samhain Publishing) is now the executive editor of Flame Tree Press.
Journalstone Publishing is no longer reading submissions this year.
Flame Tree Publishing—6 Melbray Mews, London SW6 3NS UK.
Flame Tree Submissions Policy: “We are happy to receive submissions for our Flame Tree Press imprint. It’s the new author-led, trade imprint of Flame Tree Publishing. The Press list focuses on speculative fiction, art, and music.”
“We do not take submissions for our illustrated nonfiction book publishing list. Occasionally we accept ideas for our calendar programme.”
“For our full range of publications please take a look at [the Web site]. We are a global publisher and sell through all major wholesalers, retailers, and online outlets. We sell foreign language co-editions and translation rights to publishers in many countries around the world, including France, Germany, China, and Brazil, and attend all major book fairs including Frankfurt, Beijing, London, and the American Booksellers Assn.”
- Fiction: “We are a trade-publishing house (that is, we publish books for general readers which are made available through all channels in the book trade). We are generally interested in SF, fantasy, horror and crime fiction.”
“We are looking for novels in the range of 60,000 to 120,000 words.”
“Please note that our preference is for completely new novels, previously unpublished in any form; however, if you would still like to submit a previously released title (which you retain the rights for), we might consider it.”
“We only accept short stories for specific anthologies which are announced on our Web site, our blog, and through Facebook, Twitter, and Google.”
- Nonfiction: Music and Art: “We are interested in biographies and nonfiction subjects in all fields of art and music. Our reader is not academic, but serious, not mass market, but broadly literary and interested in cultural matters.”
“We are looking for works in the range of 60,000 to 120,000 words.”
“Please summarise any obvious competitors for your work, and why your own work offers a different perspective.”
“Please let us know if there are any relevant exhibitions or anniversaries that would help market the book.”
- General Submission Guidelines: “It is an advantage, but not essential, to show that you have published work in magazines, Web sites, or other online publications which are relevant to your area of interest or expertise.”
“It is not necessary to use a literary agent.”
“Please E-mail your work to [E-mail address below], and include:”
– “A synopsis of no more than 3 paragraphs.”
– “The word count.”
– “The whole manuscript, in .DOC, .DOCX, or .RTF formats.”
– “Please include your name and E-mail address on the manuscript itself.”
-“A writer’s CV with a summary of previous publications/awards, recognition for your work by institutions or other parties.”
“To avoid any conflict of interest, please tell us if you have also sent your manuscript elsewhere.”
Response times: “We will acknowledge receipt within one working week. We hope to make a judgement about publication within two months, depending on the season and number of titles submitted overall. Our editorial board tries to make regular contact with our community of writers, even if publication of an individual manuscript has not been agreed. We try to be positive and encourage writers as much as possible, especially new authors.”
“Generally speaking we expect to publish simultaneous hardcover, paperback, and e-book editions to the trade market, online and retail stores, and library markets. We cannot guarantee levels of sales but will work hard to promote and advocate for the books we publish.”
“We use industry standard royalty contracts, with a reasonable view on electronic rights. We do not pay generous advances but expect to work with the author to market their work effectively.”
[E-mail: Queries/Subs: email@example.com; http://www.flametreepublishing.com].
Gollancz—Orion Publishing Group, 3rd Floor, Carmelite House, 50 Victoria Embankment, London EC4Y 0DZ UK. Address Gollancz Submissions. “All submissions will be considered by one of the editorial team.”
“Gollancz is committed to an open and fair submission process. Although the vast bulk of our publishing comes through the traditional path from agents, we know that there are wonderful writers out there without that support. Accordingly, we operate an open submission policy for unagented authors. Please send a covering letter, one-page synopsis and a printed copy of the first fifty pages of your completed novel (see format below) to [address above].”
“A few things to note:”
– “If you have an agent, please submit through them in the normal manner.”
– “We will not accept submissions sent in by agents through this process.”
– “We are happy to accept previously self-published works but you must inform us of this in the covering letter.”
– “We will not consider works we have previously rejected.”
– “We accept submissions from anywhere and anyone, but they must be written in English.”
– “Your novel must be complete and at least 75,000 words in length.”
– “We only publish Science Fiction, Fantasy, Horror, and other such weird and wonderful things. Please don’t send us your crime novel or historical epic—it will be disposed of unread.”
– “We do not publish nonfiction.”
– “We do not publish books for children.”
– “We are not looking for short story collections or anthologies.”
– “We are unable to reply to queries about submissions.”
– “We do not return manuscripts, even if you send us postage and an addressed envelope. Don’t send us anything you can’t afford to lose.”
– “The sample should be 50 single-sided, double-spaced pages in standard fonts. If your chapter ends on page 48 or 52, use your common sense to find a good break point.”
– “Make sure you include your name, address, and E-mail!”
– “We aim to clear the submission pile approximately every three months, but this can fluctuate.”
Best Horror of the Year—PMB 391, 511 Avenue of the Americas, NY NY 10011-8436. Editor: Ellen Datlow. “I am editing the anthology series Best Horror of the Year (Night Shade Books) and am currently reading for the tenth volume, which will include all material published in 2017.”
“I am looking for stories and poetry from all branches of horror: from the traditional supernatural to the borderline, including high-tech sf horror, supernatural stories, psychological horror, dark crime, or anything else that might qualify. If in doubt, send it. This is a REPRINT anthology so I am only reading material published in or about to be published in 2017. Submission deadline for individual stories is December 15, 2017. I’ll look at galleys or manuscripts.”
“Authors should check that their publishers are sending review copies to me as I don’t have time or energy to nag publishers for material. I request it once (maybe twice) and that’s it.”
“I will look at e-versions of anthologies and collections if they are navigable and have running heads. Otherwise, I will not read them. I always prefer print, if your book is available that way.”
“You can query me as to whether I have your collection or an anthology in which you have a story at [E-mail address below].”
“There will be a summation of ‘the year in horror’ in the front of the volume. This includes novels, nonfiction, poetry, art books, and ‘odds and ends’—material that doesn’t fit elsewhere but that I feel might interest the horror reader. But I must be aware of this material in order to mention it. The deadline for submissions to this section is December 31, 2017.”
“I regularly read many magazines and webzines that publish horror (Black Static, Dark Discoveries, Cemetery Dance, Supernatural Tales, F&SF, The Dark, Nightmare, and the other digests, etc.) or from anthologies and collections, unless I don’t have or can’t get that anthology or collection. Again, please ask your publisher to send me the magazine or book. For online publications, E-mail me individual files.”
“Please do NOT send an SASE. If I choose a story you will be informed. For confirmation that I‘ve received something, enclose a self-addressed stamped postcard and I will let you know the date it arrived.”
[E-mail: firstname.lastname@example.org; http://www.datlow.com].
Note: This column was first published in the HWA newsletter back in 2006.
THE BRIDES OF DRACULA (1960), Hammer Films’ second vampire movie, is so steeped in rich atmosphere you can almost feel the Transylvanian mist on your flesh.
It also ranks as one of the best vampire films ever made.
THE BRIDES OF DRACULA tells the story of young Marianne (Yvonne Monlaur) on her way to the Lang Academy at Badstein where she is to be a teacher. Unfortunately, before arriving at the school, she spends the night at the Chateau Meinster where she meets the young dashing Baron Meinster (David Peel) who happens to be a vampire.
Doctor Van Helsing (Peter Cushing, reprising the role he played in HORROR OF DRACULA two years earlier) arrives in town to investigate the reports of vampirism in the area. Van Helsing befriends young Marianne and discovers that Baron Meinster is the local vampire. In a neat piece of drama, he is understandably shocked to learn that Marianne and the Baron are engaged to be married. However, Van Helsing puts his personal feelings aside and pursues the vampire, eventually battling it out with Meinster in an exciting climax in a fiery windmill.
While THE BRIDES OF DRACULA is an excellent film, it’s not without its problems. For starters, Dracula does not appear in the movie, so the title is a major misnomer and source of frustration for many fans. Dracula is absent from the film because back in 1960 Christopher Lee refused to reprise the role for fear of being typecast. And while David Peel performs admirably as Baron Meinster, he’s no Christopher Lee, and his performance lacks the powerful punch that viewers loved about Lee.
Also, the music score by Malcolm Williamson is so over the top in places it’s almost laughable. James Bernard’s music is sorely missed here.
Still, there’s a lot to like about BRIDES.
The cast is superb, led by Peter Cushing as Dr. Van Helsing. Long before Hugh Jackman put us to sleep in the over-hyped yawn fest VAN HELSING (2004), Peter Cushing was THE film Van Helsing. His performances in HORROR and BRIDES marked the first time the role was played as a younger action hero, rather than the old wise professor from Stoker’s novel.
The supporting cast is also very good, notably Martita Hunt as the Baroness Meinster, Baron Meinster’s mother, and Freda Jackson as Greta, Baron Meinster’s former nurse and current servant. Jackson steals nearly every scene she’s in.
Jimmy Sangster, Peter Bryan, and Edward Percy all worked on the screenplay for THE BRIDES OF DRACULA.. Evidently, extra writers were called in, and extensive rewrites were performed at the request of Peter Cushing who was unhappy with the original script. For instance, in the original script, Van Helsing used black magic to fight off the vampires, and Cushing thought this was completely out of character for the doctor.
Director Terence Fisher gives the film its wonderful atmosphere by using rich colors and textures, elaborate sets and costumes, the whole bit. It’s one of the reasons Hammer Films were so successful. They always looked like extremely high-budgeted movies when in fact they weren’t.
Fisher also creates some classic scenes in this film—Greta calling to the young vampire bride in her grave, the girl’s hand clawing its way out of the soil, Van Helsing burning the vampire’s bite from his own neck, and in the fiery climax, Van Helsing leaping onto the blades of the burning windmill to form the shadow of the cross on an adjacent building.
THE BRIDES OF DRACULA is an atmospheric gem, well worth sinking your teeth into.