There’s a new interview with me posted at the Interstitial Arts Foundation blog. (You can tell it was conducted before the latest issue of Mythic Delirium came out, but that’s okay.) In said interview, I talk about what crowdfunding can mean for hard-to-classify art projects:
 

[O]nce upon a time, if I wanted to publish a book as strange and niche as Clockwork Phoenix, I would have had to live with the idea that I was going to lose thousands of dollars of my own money and hope that, despite limited resources, I could put on enough hustle to recoup at least a little of what I spent. Crowdfunding puts the hustle right up front, cast out to a wide audience, and if you make your goal, then you start out with everything paid off and your book pre-sold — so long as your budget’s solid and you’re solidly committed to giving your backers everything you promised them.

 
And tangentially:
 

[P]eople fret about relying on Kickstarter to support a long-term project like a magazine, and that’s understandable: if you don’t make your goal, you’re done. (Indiegogo, I imagine, mitigates this effect somewhat, since you get some of the money you raise regardless.) But you know what? These days, the traditional subscription model isn’t any more reliable — unless you enjoy death by slow attrition. People respond to crowdfunding campaigns; maybe it’s the time limit that makes all the difference.

 
My thanks to IAF board member Deborah Atherton for the chance to stand on a soapbox.
 
#SFWApro
 

Posted in Appearances, Clockwork Phoenix, Editing, Interviews, Mythic Delirium, Writing