I finished Generation X-ed earlier this month, and was blown away by the eclectic group of writers and range of stories in the anthology. My review of the book can be found here:
As a follow-up to my wonderful reading experience of the book, I interviewed editor Rebecca Rowland, for an insight into how Generation X-ed was conceived, created and curated.
1. Hi Rebecca, Congratulations on the release of your latest book. How would you describe the experience of working on a project with other writers, versus individually writing a book?
It’s a completely different animal. In the first anthology I edited for Dark Ink Books, I included one of my own stories; I haven’t done that since, despite selecting themes or subgenres for subsequent anthologies that I incorporate most often in my own writing. It’s too difficult wearing both hats: as an editor, you have to see the work through the eyes of the reader while simultaneously having the backs of the authors who have contributed to the project. With my own stuff, I just write what I like and rarely consider how readers might respond: I trust in the editor and the press owner to assess and dress it properly for public view. When I am writing, I am in a vacuum of sorts; as an editor, I am very conscious that how I shape and promote an anthology affects all of those authors involved. It’s much more exhausting to be an editor, unfortunately, but it’s even more rewarding on some levels as long as I know I’ve done right by those who’ve contributed their work.
2. Generation X-ed is a niche genre: horror stories set in the eighties and early nineties. How did the idea for the anthology come about?
A few years ago, I made a conscious effort to read and review more independent dark fiction. I also tried to break out of my (painfully awkward, typical writer-introvert-) shell and get to know some fellow independent horror writers. What I found was that more than three-quarters of those horror authors were my age: we shared the same formative experiences in media and music and culture. I was born smack in the middle of Generation X, a group I didn’t really understand the significance of until I was well into my thirties and forties. I recall being in college and having a house-sitting gig; the homeowners subscribed to Newsweek, and the cover story was “Generalizations X,” a deconstruction of the “slacker generation.” It was the first time that I saw myself as part of a group that was united simply due to birth timeframe, but I couldn’t get behind the analysis the article put forth. Now, I look at my generation and I realize, there are touchstones we share that helped shape us into the people we are as adults: the satanic panic, the latchkey phenomenon, the Challenger explosion (witnessed live in our classrooms), the emergence and disappearance of Mtv, and so forth. The Baby Boomers have theirs; the Millennials will have theirs. I happen to think our formative experiences are the most nefarious, which might explain the wealth of horror fiction that has sprung from Gen Xers!
3. The stories cover a range of horror sub-genres from psychological and paranormal, to comedy and sci-fi. Was this intentional, to feature stories across the horror spectrum?
The Renaissance of the slasher film occurred during Generation X’s childhood/early teens, and the birth of cable television and VCRs (coupled with a looser supervision by our parents), made access to hardcore horror relatively easy. When I first conceived the collection, I did imagine it would be focused on the splatter and gore of that subgenre: the X lends itself so well to that, visually and thematically. However, the more I thought about it, the more I realized that our influences weren’t limited to slashers. Each of the authors chose an individual (real or fictional) who had an impact on him/her as a horror writer: the list appears at the beginning of the collection. The range makes me realize I did the right thing broadening the parameters of the fiction I wanted to include.
4. All the writers belong to the latchkey generation and have explored their personal experiences with movies, books, music, political and historical events from the era. How did you gather stories and authors for this project?
I wrote up the call for stories, letting writers know the word count range and that we were really only requiring two things: that the writer be a member of Generation X and that the horror story include something (subtly or otherwise) specific to the generation. As the submissions came in, I was pleasantly surprised: the caliber of writing and the uniqueness in story arcs made whittling the final count down to twenty-two very difficult. There were definitely some stories that it pained me to turn away, but the ones I selected all had one thing in common: they were exceptionally well-written, and they stayed in my head hours or even days after I first read them. I wish I could give a more objective analysis of why these twenty-two ended up together, but my best explanation would be it’s part luck that these gifted authors chose to trust me with their creations, and it’s part my own gut reaction.
5. While readers born and growing up in the 70s and 80s would find resonance in the references, the stories are so well written and compiled to be enjoyable for everyone. Did you have a reader audience in mind while conceiving this anthology? As an editor, how challenging is it to cater to different reader tastes when curating a collection?
So far, I’ve been fortunate enough to curate collections where the focus has been something to which I am already drawn, and I know readers are going to choose a book based on whether its nucleus is something that already jives with their preferences. I know putting out a collection that appears age-specific is risky; however, one of the nicest feedbacks I’ve received from reviewers is my commitment to diversity in style and approach, and therefore, I’ve always kept that in mind when I am cutting down the “likely yes” pile to the final lineup.
I am drawn to read anthologies myself because of the variety: I don’t expect to love every entry, and I don’t expect readers of the anthologies I curate to love every story. However, I never want a reader to find s/he doesn’t respond to multiple stories in a row. That’s a death sentence for any collection, so careful arrangement of the tales is key. Even if the stories have a common thread, I take care to either follow one story with another from a completely different subgenre, or, if the subgenres are the same, make certain back-to-back tales utilize different points-of-view, or possess similar narrators who make very different choices. That way, there really is something for everyone. There are sly winks in Generation X-ed that will resonate specifically with those who are a part of the generation, but the heart of the collection, the things that creep and unnerve and scare the bejesus out of us no matter when we grew up, is what gives it life, so I hope everyone who enjoys good storytelling will take a look.