We're losing a lot of fiction markets these days. A lot of ink has been expended on pro markets like Orson Scott Card's Intergalactic Medicine Show, Compelling Science Fiction, and Apex, which went under as their editors faced the same brutal grind--and unworkable balance sheets--that Matt and Cameron did. But the loss of BS&B hurts more, at least for me.
Matt and Cameron were rare among editors in that they always went out of their way to make writing fun for everyone who came into contact with them. Facing down the usual barrage of hundreds of submissions per issue, they prided themselves on offering actual reasons for rejection to everyone who didn't make the cut--a standard which virtually NO market meets. Their social media feeds, both as individuals and as the BS&B entity, were always full of appreciation for authors and for other markets, as well as grim honesty about the downside of the job--the scads of submissions from people who plainly didn't read the guidelines, the impossibility of meeting Amazon's formatting requirements, the pain that comes from laboring mightily to put out a quality issue and seeing less than a dozen people pay for it. Following their feeds was an education, and a reminder that I would never have had the gumption or the work ethic to do what they did.
But following them was also a joy. There were the Follow Friday promotions, with shout-outs to their published writers that sparked weekly GIF wars. There were the posts on the magazine's blog celebrating the best of mass-market pulp. And there was that greatest of all joys for a writer-seeing one's work in print, seeing the quality of the other stuff that made the grade, and knowing that keeping company of this quality meant you'd achieved something.
I reviewed a couple of initial issues of BS&B because I felt that was an appropriate gesture of thanks to a periodical that had taken a chance on my work. I liked those issues. I liked them so much, in fact, that I ended up purchasing, reading, and reviewing them all, except for the ones in which my writing appeared. It was a market marked by rock-'em sock-'em action, stylistic experimentation, diversity of setting and concept, and often by just full-on WEIRDNESS. I think I was the first reviewer to call Matt and Cameron the "mad scientists of modern pulp," and they were that in the very best sense of the word.
The high points for BS&B were very high. If you want an introduction to the mag, I'd recommend Issue 5, which includes L Chan's "Petals, Falling Like Memories," one of the best stories every to appear in New Pulp, along with several other excellent stories and what was probably my favorite of the trademark cover illustrations created by the talented Luke Spooner. A second high point is, actually, the new issue, number 12. Although I can't post reviews of it as per my personal policy, there's some STOMPIN' pulp herein, including J. Rohr's magisterial "Riding The Rails", a mortal lock for my year-end best-of list. You'll find my own work in Issues 4, 8, and the aforementioned Issue 12.
The mad scientists will be moving on now to other pursuits. But in our hearts, and on our shelves, the beautiful monster they created shambles on.
But following them was also a joy. There were the Follow Friday promotions, with shout-outs to their published writers that sparked weekly GIF wars. There were the posts on the magazine's blog celebrating the best of mass-market pulp. And there was that greatest of all joys for a writer-seeing one's work in print, seeing the quality of the other stuff that made the grade, and knowing that keeping company of this quality meant you'd achieved something.
I reviewed a couple of initial issues of BS&B because I felt that was an appropriate gesture of thanks to a periodical that had taken a chance on my work. I liked those issues. I liked them so much, in fact, that I ended up purchasing, reading, and reviewing them all, except for the ones in which my writing appeared. It was a market marked by rock-'em sock-'em action, stylistic experimentation, diversity of setting and concept, and often by just full-on WEIRDNESS. I think I was the first reviewer to call Matt and Cameron the "mad scientists of modern pulp," and they were that in the very best sense of the word.
The high points for BS&B were very high. If you want an introduction to the mag, I'd recommend Issue 5, which includes L Chan's "Petals, Falling Like Memories," one of the best stories every to appear in New Pulp, along with several other excellent stories and what was probably my favorite of the trademark cover illustrations created by the talented Luke Spooner. A second high point is, actually, the new issue, number 12. Although I can't post reviews of it as per my personal policy, there's some STOMPIN' pulp herein, including J. Rohr's magisterial "Riding The Rails", a mortal lock for my year-end best-of list. You'll find my own work in Issues 4, 8, and the aforementioned Issue 12.
The mad scientists will be moving on now to other pursuits. But in our hearts, and on our shelves, the beautiful monster they created shambles on.