Die Horror Writers Association hat den „Bram Stoker Award 2009“ vergeben:
Superior Achievement in a NOVEL
AUDREY’S DOOR von Sarah Langan (Harper)
Superior Achievement in a FIRST NOVEL
DAMNABLE von Hank Schwaeble (Jove)
Superior Achievement in LONG FICTION
THE LUCID DREAMING von Lisa Morton (Bad Moon Books)
Superior Achievement in SHORT FICTION
“In the Porches of My Ears” von Norman Prentiss (POSTSCRIPTS #18)
Superior Achievement in an ANTHOLOGY
HE IS LEGEND herausgegeben von Christopher Conlon (Gauntlet Press)
Superior Achievement in a COLLECTION
A TASTE OF TENDERLOIN von Gene O’Neill (Apex Book Company)
Superior Achievement in NONFICTION
WRITERS WORKSHOP OF HORROR von Michael Knost (Woodland Press)
Superior Achievement in POETRY
CHIMERIC MACHINES von Lucy A. Snyder (Creative Guy Publishing)
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Those Sexy Vintage Sleaze Books hat ein Buch von Sheldon Lord (auch bekannt als one and only Lawrence Block) entdeckt: Of Shame and Joy.
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Joe Lansdale beantwortet den Sons of Spade einige Fragen:
I based a lot of Hap on myself, and Leonard on friends of mine. It’s that simple. But, of course, a lot of who they are is made up. I had a number of the jobs Hap had, and some of the other experiences. No murders and killings, but the background.
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„Battlefield Earth“ hat kürzlich den Razzie als schlechtester Film des Jahrzehnts erhalten. Drehbuchautor J. D. Shapiro hat den Preis persönlich entgegengenommen und die Gelegenheit genutzt, ein wenig aus dem Nähkästchen zu plaudern:
It wasn’t as I intended — promise. No one sets out to make a train wreck. Actually, comparing it to a train wreck isn’t really fair to train wrecks, because people actually want to watch those. (…)
My script was very, VERY different than what ended up on the screen. My screenplay was darker, grittier and had a very compelling story with rich characters. What my screenplay didn’t have was slow motion at every turn, Dutch tilts, campy dialogue, aliens in KISS boots, and everyone wearing Bob Marley wigs.(…)
The only time I saw the movie was at the premiere, which was one too many times. (…)
Now, looking back at the movie with fresh eyes, I can’t help but be strangely proud of it. Because out of all the sucky movies, mine is the suckiest.
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Horrorautor Norman Partridge hat sich mit
Duane Swierczynski (aka Duane Louis) unterhalten:
It’s the work that matters. Don’t get caught up in the rest of the nonsense — the business and marketing and trend-watching and all of that. Sure, it’s important. But the work comes first. Sit your butt in a chair and keep writing. When you’re not writing, read your eyeballs out.
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A Wild and Crazy Night by John Kenyon from Beat to a Pulp
At Least I felt Something by Sophie Littlefield from The Drowning Machine
Blurred Lines by Michael Moreci from A Twist of Noir
Flesh Rule by Frank Bill from Plots with Guns
Insatiable by Hilary Davidson from Beat to a Pulp
My Father’s Son by Alan Griffiths from A Twist of Noir
M-N-S (n) murder-necrophilia-suicide by Anonymous 9 from Plots with Guns
The Present by Mark Joseph Kiewlak from A Twist Of Noir
Survival Instincts by Sandra Seamans from Pulp Pusher
The Tut by Paul D Brazill from Beat to a Pulp
und demnächst wird der Weg zur Wahlkabine ausgeschildert.
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