BOOK RELEASE! Mad Science Cafe (anthology)

My latest anthology, from Book View Cafe!

From the age of steam and the heirs of Dr. Frankenstein to the asteroid belt to the halls of Miskatonic University, the writers at Book View Café have concocted a beakerful of quaint, dangerous, sexy, clueless, genius, insane scientists, their assistants (sometimes equally if not even more deranged, not to mention bizarre), friends, test subjects, and adversaries.

Table of Contents:
The Jacobean Time Machine, by Chris Dolley
Comparison of Efficacy Rates, by Marie Brennan
A Princess of Wittgenstein, by Jennifer Stevenson
Mandelbrot Moldrot, by Lois Gresh
Dog Star, by Jeffrey A. Carver
Secundus, by Brenda W. Clough
Willie, by Madeleine E. Robins
One Night in O’Shaughnessy’s Bar, by David D. Levine
Revision, by Nancy Jane Moore
Night Without Darkness, by Shannon Page & Mark J. Ferrari
The Stink of Reality, by Irene Radford
“Value For O,” by Jennifer Stevenson
The Peculiar Case of Sir Willoughby Smythe, by Judith Tarr
The Gods That Men Don’t See, by Amy Sterling Casil

You can download a sample from the BVC  bookstore, too. This anthology includes both original and reprint stories and is available as mobi and epub formats, so you can download the version that's right for your ereader. Best of all, because BVC is an author's publishing cooperative, 95% of the price goes to the authors themselves.

Book View Cafe Editor Interview

Over at Book View Cafe blog, Katharine Eliska Kimbriel interview me "with my editor hat on."


When did you become interested in editing other writers’ work as opposed to concentrating on writing?

I first started thinking about editing during the years when I’d visit Marion Zimmer Bradley on a regular basis. I helped read slush for her magazine (MZB’s Fantasy Magazine) and we’d talk. I got a “behind the scenes” look at what she looked for and why, and how she handled rejection letters. She taught me that the work of an editor isn’t mysterious, in part because her own tastes were so definite. A story could be perfectly good but not suit the anthology or magazine she was reading for, or might do both but not “catch fire” for her. I learned about “no fault” rejections (and I’ve received them myself, for example if the editor had just bought a story on the same theme by a Big Name Author) and that sometimes if an editor thought the story had merit but didn’t fulfill its promise, she could comment on its shortcomings or issue an invitation to re-submit after revision. I thought, “I can do this!” I’d had so many experiences from the Author side of the desk, I approached editing with a set of wild hopes and convictions.