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Siren Beat single work   novella   fantasy   horror   romance  
Issue Details: First known date: 2009... 2009 Siren Beat
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AbstractHistoryArchive Description

'Siren Beat is a paranormal romance sans vampires or werewolves but featuring a very sexy sea pony. A minor group of man-eating sirens on the docks of Hobart would not normally pose much of a challenge for Nancy, but she is distracted by the reappearance of Nick Cadmus, the man she blames for her sister's death.' (From the publisher's website.)

Notes

  • Dedication: Thanks to Marianne and Lynne for inspiring me to reinvent the Hobart docks as a seedy, mythical kraken-magnet of a locale. Nancy Napolean would not exist without you both.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

‘A Crowd at Your Back’ : Fantasy Fandom and Small Press Kim Wilkins , 2019 single work criticism
— Appears in: Media International Australia , February vol. 170 no. 1 2019; (p. 115-125)
'This article presents a study of a model of textual production that situates genre fiction, specifically fantasy fiction, within its community and industry contexts. I argue that Australian fantasy ‘fandom’ operates in some ways like a research and development space for the literature it consumes, through allowing, enabling and enthusiastically supporting – both ethically and materially – a thriving small press culture. Fandom is known for its passionate investments in texts, and those investments are rarely passive. The fantasy genre community is already oriented towards prosumption, and small presses afford specific opportunities for writers to work in specific ways, enriching and developing their individual craft and the genre as a whole.' (Publication abstract)
‘A Crowd at Your Back’ : Fantasy Fandom and Small Press Kim Wilkins , 2019 single work criticism
— Appears in: Media International Australia , February vol. 170 no. 1 2019; (p. 115-125)
'This article presents a study of a model of textual production that situates genre fiction, specifically fantasy fiction, within its community and industry contexts. I argue that Australian fantasy ‘fandom’ operates in some ways like a research and development space for the literature it consumes, through allowing, enabling and enthusiastically supporting – both ethically and materially – a thriving small press culture. Fandom is known for its passionate investments in texts, and those investments are rarely passive. The fantasy genre community is already oriented towards prosumption, and small presses afford specific opportunities for writers to work in specific ways, enriching and developing their individual craft and the genre as a whole.' (Publication abstract)
Last amended 19 Aug 2015 13:43:09
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