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Editing Anthologies for Young People
By Ellen Datlow and Terri Windling
Our editorial team began in 1987 when a book packager paired us up to create The Year's Best Fantasy and Horror, an annual round-up of magical fiction. Each of us had edited anthologies before and had other editorial experience (Ellen as fiction editor for OMNI magazine, and Terri as a fantasy editor for Ace and Tor Books), but we soon discovered a particular strength in collaboration—with Ellen's extensive knowledge of the horror and dark fantasy fields complementing Terri's knowledge of high fantasy, myths, and fairy tales. Ellen lives in New York City, however, while Terri divides her time between Arizona and England, so although we work closely together, we only see each other once or twice a year. In the beginning we'd use the phone, the mail, or fax machines to stay in touch, but now email makes communication tremendously easier—both with each other and with our authors.
We're both deeply devoted to the short story form and enjoy creating venues in which writers can publish short works. In order to make short stories marketable, however, it helps if an anthology revolves around a strong idea or theme to pique the readers' interest. We draw our themes from a variety of sources. Ellen's solo anthologies have been inspired by her personal interests (such as vampires or cats) and by conversations with friends and other editors. Her science fictional "endangered species" anthology, Vanishing Acts, for example, was born out of a discussion with friends in Albuquerque, New Mexico about classic science fiction stories that dealt with the theme. She came away with an idea and the intention to reprint one of the stories discussed. Terri is a folklorist, so her anthologies tend to be inspired by archetypal themes from folklore, fairy tales, and myth. Her anthology The Armless Maiden, for instance, was a book in which fantasy writers explored the subject of child abuse, using fairy tale themes to lead through the dark of the woods toward the light of healing.
 We'd co-edited a six-volume series of adult fairy tale anthologies and were working on a fairy tale anthology for children when Sharyn November of Viking Books approached us about editing a Young Adult anthology for the new Firebird line. We needed a break from fairy tales, so we turned to myth for inspiration instead. Terri had just curated an online exhibition of art based on the Green Man—an ancient symbol of the mythic forest—and this led us to think of the woodlands as a fecund area for exploration. Represented as a face that is masked in leaves (or disgorging vegetation from its mouth), the Green Man is found carved into the wood and stone of pagan temples, medieval churches, cathedrals, and neo-Gothic buildings all across Europe. His origins are shrouded in mystery, but most folklorists believe he is a symbol of rebirth and regeneration—a perfect symbol, we decided, for a volume of stories set in the magical realm of nature.
We start each book by drawing up a Wish List of writers we'd like to see in it—including writers with whom we've previously worked, other established authors whose work we admire, and also talented newcomers whose work we'd like to encourage. Then we send out submission invitations, explaining the anthology's theme and outlining submission parameters. We encourage potential contributors to work as broadly as possible within the theme, and to draw on myths and folk tales from around the world, not just those of the U.S. and Europe. To ensure variety, we ask contributors to give us an idea of where and when their story will take place before they write it. We learned to do this while editing The Green Man, for which we ended up having to turn down a few stories that were too similar in plot and tone. In editing our second anthology for Firebird, The Faery Reel, we were more careful to ask the writers to vary culture, period, tone, and point of view so that we could be sure the book approached faery folklore in a wide variety of ways.
 We always ask for more story submissions than we can publish because we know that some writers won't be able to make the deadline, or won't be able to come up with an appropriate idea. Also, of course, we inevitably have to turn down some of the stories that are submitted—not necessarily because they aren't good, but sometimes because they're too young or too old for the YA audience, or because a story is too similar to something we've already bought. Our task is to choose stories that work well together, making the volume work as a whole. Sometimes that means turning down a good story, if it strikes the wrong note in the collection.
When we're co-editing a book we ask writers to send their story submission to both of us. Then the two of us discuss it, decide whether or not to buy it, and also whether we feel the story needs revising or editing. We've rarely disagreed. If one of us loves a story that the other is merely lukewarm about, we'll buy it—but if one of us hates a story that the other likes, or even loves, we'll probably decide not to take it. That doesn't happen often, however; usually we love the same pieces. Once we've filled up the volume, we split the editing and writing duties. Terri writes the book's introduction and the opening mythological essay; she also puts together a Further Reading list to guide readers to other books and tales on the theme. Ellen edits most of the stories, as well as Terri's intros; she also writes all the author biographies. Then artist Charles Vess comes along and enriches the books with his magical illustrations.
We were very pleased when The Green Man won the World Fantasy Award for Best Anthology. We have each received a total of seven World Fantasy Awards (as collaborators and solo), tying for the most ever won. We're currently working on a third anthology for Viking, looking at Trickster myths this time, as well as on a variety of solo projects. •
Ellen Datlow edits fiction for SCIFI.COM and continues to edit the horror half of The Year's Best Fantasy and Horror. Terri Windling is an editor of an on-line Journal of Mythic Arts, and has novels forthcoming from Tor Books and Viking. Together, they have new anthologies for adult and middle grade readers in the works.
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Ellen Datlow (left) edits fiction for SCIFI.COM and continues to edit the horror half of The Year's Best Fantasy and Horror. Terri Windling (right, photo courtesy of Carol Amos) is an editor of an on-line Journal of Mythic Arts, and has novels forthcoming from Tor Books and Viking. Together, they have new anthologies for adult and middle grade readers in the works.
Past Perspectives:
Windows Into Their Lives: The Ninth Book of Junior Authors and Illustrators
Connie Rockman, June 2005
Editing Anthologies for Young People
Ellen Datlow and Terri Windling, May 2005
A Place Where The Wind Is Not Howling
Carole D. Fiore, October 2004
Picture a Life: Picture Book Biographies
Megan Schliesman, November 2003
Reading Skills and Social Studies
Tarry Lindquist, September 2003
Writing Biography
Barbara Elleman, June 2003
The NY Times Best Illustrated Children's Book Award
Eden Ross Lipson, March 2003
Publishing Books for the Very Young
Bernette Ford, October 2002
Stories and Art
Allison Day, June 2002
Children's Books are Not Just for Children Anymore!
May 2002
Poetry and Literacy
Glenna Sloan, April 2002
Library Outreach to Hispanic Children
Maria Mena, March 2002
Choosing Award-winning Nonfiction Writing for Children: Three Perspectives
February 2002
View from the Riverbank
Martha Davis Beck, November 2001
Science, Trade Books, and Natural Curiosity
Christine Anne Royce, August 2001
No Laughing Matter
Michael Cart, May 2001
Historical Fiction
Oralee Kramer, February 2001
Coretta Scott King Award
Dr. Henrietta M. Smith, November 2000
Multicultural Literature as Curriculum
Myra Zarnowski, August 2000
Multicultural Book Publishing
Philip Lee, May 2000
Human Diversity Materials in the Public Library
Esther Pollock, February 2000
Windows into the World's Religions
Marsha Hutchins, November 1999
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