Angela Challis is one half of Brimstone Press, Australia's premier independent publisher of dark fantasy, recent titles include The Year's Best Dark Fantasy and Horror 2006. She edits the only webzine in Australia presently offering SFWA pro-rates, Shadowed Realms, and graciously agreed to talk with Russell B. Farr.
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What is it that first inspired you about sf/dark fiction/horror, and what is it about the genre that continues to inspire you?
I've been fascinated by the dark side of humanity for as long as I can remember. My God fearing, church going parents despaired as I spent all my pocket money on the proliferation of horror comics throughout the 70s. They were the days ... there were at least 5 different titles, and I collected every issue for over 6 years, until I transferred my attention to my husband-to-be. I was also a loyal collector of The Phantom and Mad during those years, which pretty much sums up my entertainment preferences of today: horror, action, and comedy. I'm still kicking myself for throwing those collections away!
I don't need inspiration to maintain my interest in dark fiction/media/situations; it's simply who I am. However, inspiration to continue with Brimstone Press comes from the sheer volume of enthusiasm expressed by upcoming authors of dark fiction.
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Let's get the tough one out of the way early: dark fiction or horror?
Tough? Naaah! Not at all. I'm actually at a loss as to why the banner title is even deliberated. It seems clear to me that Dark Fiction is the catch all phrase, and Horror is a sub-set representing the extreme reader-recoil end of the Dark Fiction spectrum (marking the extreme lighter end with sword-wielding trolls having a bad day).
The term 'horror' is far more rigid than 'dark fiction'.
Horror suggests the reader should expect to be left with an overwhelming feeling caused by something frightfully shocking, terrifying, or revolting — i.e. something horrific. Given this conventional definition of horror, for me, it doesn't exist within fiction. Any events likely to provoke this type of reaction from me can only be found within the constraints of non-fiction.
Dark Fiction, on the other hand, rarely evokes a preconceived expectation as it doesn't suggest the intensity of the 'scare' factor of the story. A story of a locust plague may not be considered horror by one reader, but will evoke extreme recoil from a reader suffering with entomophobia. Although the first reader may not consider the story to be horrific, I believe very few people would deny that this type of story has the potential to provoke a wide range of reactions from reader to reader depending on the intensity of their aversion to the subject matter.
Simply put, the term Dark Fiction is sympathetic to the gamut of subjective opinions, whereas Horror is far more restrictive in its definition.
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Does it really matter what you call it?
Only from a marketing and categorising point of view. Let's face it … the term 'horror' really doesn't encapsulate works such as Hamilton's Anita Blake series, whereas 'dark fiction' indicates that it may be somewhat unsettling to discerning palates. Harris' Silence of the Lambs, on the other hand, is clearly horror but also sits comfortably under the dark fiction banner as it is unsettling to many palates.
I really don't understand the conflict; it seems perfectly straight forward to me. The term 'Dark fiction' is simply a classification to warn readers that this story contains subjects/ideas that may unsettle or disturb some readers. The term 'horror' then further defines the level of darkness: Silence of the Lambs would be classified as 'Dark Fiction: Horror, Suspense, Thriller', and Hamilton's Anita Blake series would be classified as 'Dark Fiction: Fantasy'. Something like Wells' The War of the Worlds : 'Dark Fiction: Sci Fi, Fantasy'; and Andrews' Flowers in the Attic : 'Dark Fiction: Drama'. The last case, in particular, has been described as horrific by many readers, but very few book sellers would be prepared to file it under horror.
A dark fiction magazine could publish any one of the above storylines, but a horror magazine would need to be more discerning with their choices.
It's not a case of either/or, it's simply an additional level in the hierarchy. e.g. Horror is too extreme for me, but I like dark fiction, and I don't generally read fantasy, but I will if it's dark fantasy.
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What scares you?
That's easy: humanity and mob mentality. More specifically, modern western society; it's riddled with mental health problems and an increasing number of people looking to lay the blame for their own dissatisfactions at other people's feet. What scares me most is the general loss of three words in our society ... Initiative, Responsibility, and Consequences.
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Who do you think are the people to watch in the genre at the moment?
I assume you're talking Oz specific, I wouldn't presume to answer on an international level as my general knowledge (or interest) isn't that vast.
I see a tri-level hierarchy: The current top dwellers — those clearly established, their names documented in history. The current competitors — those with substantial sale numbers and whose names are generally known. The emerging authors — those with promise but are yet to make a splash.
The top dwellers and current competitors are already under scrutiny; it's the emerging authors (the generally unknowns) that fascinate me. Of those currently emerging, I'll be watching Andrew J McKiernan, Steven Cavanagh, Nathan Burrage, Liam Rands, Matthew Chrulew, Gary Kemble, and Kylie Seluka. Unfortunately, the fairer sex is generally less represented across all levels. If I could control people's output, I liked to see Deborah Biancotti exercise her darkest demons and more from Kirstyn McDermott.
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Where did the idea for Shadowed Realms come from, and what were you originally seeking to achieve with this publication?
Shadowed Realms was very much a cathartic exercise. I had lost touch with dark entertainment and like-minded people during my child raising years, and Shadowed Realms was borne from a need to reach out to discover whether the whole world had become PC, bleeding hearts, and perpetual victims. It was a relief to discover it hadn't!
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What led to choosing to publish this electronically?
Having a sound understanding of the internet, basic html, computer hardware and software, and the doorways that the information highway opens, an online magazine seemed the logical way to send out a call for like-minded people.
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Do you feel that you have achieved your goals with Shadowed Realms?
Definitely ... and more. Prior to Shadowed Realms, I was totally oblivious to the small press world and the convention circuit. People such as yourself, Bill Congreve, and Robert Hood have been wonderfully forthcoming with information and advice that has given me the confidence to invest my time and finances into Brimstone Press.
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From one indie press person to another, it's lunacy starting up a publishing house. What inspired your particular brand of lunacy, Brimstone Press?
Primarily, the lack of representation of dark fiction, and the resurging interest in horror at the box-office; and secondarily, Ticonderoga and MirrorDanse — both quality endeavours and worthy models upon which to base a business framework looking to future expansions.
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What are you seeking to do with this venture? Do you have a long term plan?
At the moment, networking and deal-brokering are my highest priorities, along with securing additional finances to build the business. My long term goal is to build Brimstone Press into a viable business; medium term goal is to release another 8-10 titles over the next 12 months.
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With every venture of this nature, would you say that there is a balance of commerce and art? Where is the line for you, will you be looking to take on eccentric yet worthwhile projects over safer, more commercial prospects?
I do believe there is a balance of commerce and art; however, I can't see the extremes of the two will ever meet. I'm a pragmatic person and hold more of a capitalist than a socialist way of thinking. Initially, safer, commercial prospects will be my focus, but once Brimstone is established and secure, I'd be prepared to consider any, and all, suggestions or proposals.
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You're the editor of a webzine, yet have very little online presence yourself. Do you think there is any worth in promoting the publisher? Do you think that having a higher profile may be of assistance in negotiating new projects and gaining wider recognition of Brimstone Press' efforts?
Hmmm? I can see value to both sides of this argument, but I generally believe that a quality product will sell itself — with persistence and promotion of the product, not the producer. On a personal note, I don't believe women need to be pushy, mouthy, extroverted, acknowledged, or noticed within the public arena to be strong and successful. Some of the strongest women in history have gone largely unnoticed. I'm a firm believer in the old adage: It's the power 'behind' the throne that runs the country. I'm more interested in being successful than being recognised and would prefer that Brimstone Press sat upon the throne while I guide it from a quiet dark corner.
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Do you think the genre is being promoted effectively in Australia? What else do you think should interested people be doing?
If, by genre, you mean horror, then no. If you mean dark fiction, still no, but at least it's readily published under other banners. Promotion requires a steady stream of finance, and the big players are still reticent to buy and promote horror. At the other end of the spectrum, small press players are either not able or not prepared to take the financial risk involved to effectively reach beyond the small press circuit.
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If there was one project that you could do, one publication, what would it be?
I'm working on it this very minute ... stayed tuned!
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What are some of your favourite stories, and why do they work for you?
Anne Rice's Mayfair Witches series
Robert Ludlum's Bourne Identity series
The Gear's Prehistoric America series
Stephen King's 4 Past Midnight & Gerald's Game
Wilbur Smith's River God
Alex Haley's
Roots
I've never actually analysed why before, and I'm actually rather surprised to discover that these novels are solid representations of what I enjoy most in fiction: suspense, fictionalised fact, and brutality. However, the majority of my reading tends to be non-fiction based: Anthropology, archaeology, ancient cultures, Australiana, convicts, bushrangers, philosophy, psychology, parapsychology, paranormal, human development (specifically the brain), and the list goes on. I'm fascinated by people and how they interact.
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Where to from here? What can we expect to see from you in the near future?
I'm currently working on a couple of projects that I expect to reach fruition before the end of this year. My favoured one, alluded to above, should be ready for Conflux in September this year.
I'm a person of absolutes; there will be no in between. Brimstone Press (and its subsidiary projects) will either be a commercial success or it'll slip quietly away, and I will return to supporting my partner Shane and his writing career 100%.
Regardless of who holds the throne in front of me, the power behind it will stand resolute.
Copyright © TiconderogaOnline 2007
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