A Wilder Vein back from the printers

What a delight it has been to receive the anthology that I've edited hot of the press from Two Ravens Press. Although publication date is 2nd November, it's for sale before then from their website ONLY at the great price of £8.99, for delivery from 1st October. This not only gives the reader a good deal, but is good news for this small press who are severely challenged by the commercial discounts required by many booksellers.

This is a quality book - looks good, feels gorgeous and packed with diverse and beautifully written responses to the wild places of Britain and Ireland. It includes the extended version of Palestinian writer Raja Shehadeh's piece, pre-published in The Guardian in July. It's very gratifying to see so much work by so many going out to make its way in the book world. Please help it on its way!

Launch events at The Aberfeldy Watermill, Tuesday 27th October with Andrew Greig, Mandy Haggith, Alison Grant and Kenny Taylor; and as part of the Edinburgh Radical Book Fair on Thursday 29th October with readings by Judith Thurley, Ken Wilkie, Andrew Greig and Jane Alexander.

How to be an anthologist

‘Editing anthologies is an unsung art. An anthologist balances story selection, story editing, story arrangement, and central concept ...'

This quote comes from an article, Anthologists Discuss their Craft in Clarkesworld magazine. OK, their territory as 'six of the most accomplished and innovative editors working in the fantasy, science fiction and horror fields', is a little different to my own, but the principles seem similar. Anyone considering taking on the editing of an anthology might do well to read this fascinating discussion which Philippa Johnson of Literaturetraining, in her role as professional development adviser, alerted me to.

As I read all the words Two Ravens Press have called in from writers of 'wild places', a fascinating process begins to unfold. The selection is a curious and complex task, and a great responsibility. It's not just about selecting for the quality of writing, but for the diversity of what is said in relation to the theme, the way it is said, the places that are evoked. I go for a walk in the tug and sun-splash of this April day, afraid that all the words will gust out of my head. Instead, the individual pieces start to jostle against each other, talk to each other, set up chimes and frictions, and I return to my task excited. I begin to see how a gathering of 'stories' could muster to become more than the sum of its parts in A Wilder Vein.