Taking Submissions: Arsenika – Winter 2018 Issue

Deadline: December 15th, 2018
Payment: $60 USD for fiction and $30 USD for poetry

Our reading periods are as follows:

  • February 1–March 15 for our Spring (April) issue;
  • May 1–June 15 for our Summer (July) issue;
  • August 1–September 15 for our Autumn (October) issue; and
  • November 1–December 15 for our Winter (January) issue.

Feel free to record your submissions at Duotrope and/or the Submissions Grinder. We are also listed on Ralan.

Fiction and Poetry Guidelines

Arsenika is looking for previously unpublished original fiction and poetry up to 1,000 words long. Payment is $60 USD for fiction and $30 USD for poetry for first world electronic rights and non-exclusive audio rights. We hope to raise the poetry rate to $60 as well in the future—please support us on Patreon if you’d like to help us reach our goal.

Submit no more than two flash fiction pieces and five poems at a time, and please make sure you fill out the form again for each piece you send, unless the pieces are meant to be read together (e.g. a triptych of poems).

All work should be in Standard Manuscript Format (fiction format/poetry format). Format poetry exactly as you would like to see it online—use italics for italics, underlines for underlines, boldface for boldface, etc. Send only TXT, RTF, DOC, and DOCX files.

Please do not send simultaneous submissions (pieces that are submitted to Arsenika and another market at the same time). Multiple submissions are accepted, but please have no more than two flash fiction pieces and five poems in the submissions queue at a time.

We try to respond to all submissions within 14 days. If you haven’t heard from us in 30 days, please send us a query at [email protected].

Remember: Don’t self-reject.

Please ensure that you understand our guidelines. When you are ready, click the button below to submit.


Arsenika does not accept unsolicited reprints. Payment is $10 upon acceptance.


Arsenika pays $100 for reprint art. Please feel free to query us at [email protected] with a link to your portfolio.


Q. Can I submit multiple times per submissions period?

A. Yes. Please have no more than two flash fiction pieces and five poems in the queue at a time; once we respond to those, you can send more. For example, if you’ve sent one flash piece and four poems and we’ve responded to all of them, you can send another two flash pieces and five poems. Please note that pieces held for further consideration count as being in the queue: if you send three poems and we hold one and reject the other two, you may only send another four poems and two flash fiction pieces at a time.

Q. Does Arsenika accept microfiction (fiction under 500 words long)?

A. Absolutely! We have no minimum word limit, though we do require that microfiction still tell a story of some sort.

Q. Does Arsenika accept prose poetry?

A. Yes!

Q. Does Arsenika have any line limits for poetry?

A. No, although we do have a word limit of 1,000 words.

Q. Does Arsenika accept horror?

A. Yes; we prefer horror with a speculative element.

Q. Does Arsenika accept translations?

A. Definitely; we’re very interested in translations! Please note that you must acquire translation rights from the original author unless the piece is already in the public domain. If we accept your translated piece, we will need the original author’s contact information as well; we treat translations as co-authored and pay both the author and the translator our rate for individual pieces.

Q. Does Arsenika accept fanfiction?

A. It depends—we’d rather not face potential legal issues with properties that are currently trademarked/under copyright, but we’re fine with reinterpretations of works in the public domain, myths, fairy tales, folk tales, etc. We understand there will be some degree of allusion, but we also would prefer it if the works could stand alone.

Q. Does Arsenika accept interactive fiction and poetry?

A. Yes. Please send a link to your piece and make sure it is password-protected or otherwise not viewable to the public. Be sure to include the password or access details in your submission.

If you have any further questions, please email [email protected].

Via: Arsenika.

Taking Submissions: Thuggish Itch: Theme Park

Deadline: December 28th, 2018
Payment: AU$5.00 for stories under 2000 words / AU$10.00 for anything above 2000 words

Thuggish Itch is our horror and sci-fi anthology collection.

This is the place to submit your horror, sci-fi and speculative fiction stories. 

Current theme: Theme Park

Theme park, amusement park, fun fair or carnival – no matter what you call them, they are always a great way to escape from the ho hum of your regular life. From roller coasters to dodgem cars, ring toss to log flumes, there is always plenty of fun and excitement to be had (and plenty of opportunities for you to write some terrific speculative fiction).

Think roller coasters and amusement rides. Think loose lap-bars and dark tunnels. Think long lines, carousels and food poisoning. Try to think outside the box and give us something that would wouldn’t have seen before.

Thuggish Itch is our horror, sci-fi and speculative fiction collection. Please make sure that your story falls within one of these genres. Be original. We also encourage new and unpublished writers to take the leap and get in touch.

Please ensure that you read through the general guidelines below and format your submission accordingly. If you have any specific questions please contact us using the form on the home page or via the listed social media accounts.

To help make sure that your submission gets to the correct place, please include the following in the subject line of your email: Thuggish Itch – Theme Park – *Story Title*‘.

  • Word count: 1000 – 4000 words
  • DeadlineDecember 28 2018
  • Payment: AU$5.00 for stories under 2000 words / AU$10.00 for anything above 2000 words

General guidelines:

  • Please no extremeerotica or stories that feature excessive violence or vulgarity (unless otherwise specified).
  • All stories should be formatted appropriately. Please see here for more details.
  • Ensure that your name, address, and email contact and word count are at the top of your manuscript.
  • Double check your spelling and grammar before sending your work through.
  • Please submit all stories in .doc, .docx or .rtf formats.
  • International submissions are accepted.
  • No simultaneous submissions.
  • Multiple submissions are encouraged.
  • Where possible, we will provide feedback on request.
  • No reprints.
  • Please send all submissions to [email protected]

Via: Gypsum Sound Tales.

Holy Stock Photo Black Friday Deal!

If you’ve ever needed original art for book covers or web content you’ve probably been using stock photos to help out. The problem is, they can get pretty costly. For a while now we’ve been using a single source for our photos and love them. The downside is that for 100 photos it would normally cost about $100 when a deal is being run.

However, AppSumo is running an early Black Friday deal that is offering up 100 stock photos for $50. This is a KILLER deal and one that I’ve already taken advantage of before putting this post up because we’ve been burning through at least 4 a month from Trembling With Fear alone and that isn’t counting any other articles.

If you’ve got a serious need for Stock Photos, I highly recommend checking out this Deposit Photos deal on AppSumo today!

What do you get for signing up?

  • Gain access to a library of 80 million high-quality and royalty-free stock photos and vector images
  • Use Depositphotos images for social media posts, digital ads, eBook covers, and any other commercial project
  • Give your site and content a refresh with gorgeous images
  • Best for: Bloggers, Digital Advertisers, Web Designers, and Agencies

I’d throw self-publishing authors in that last category as well. With over 80 MILLION images to choose from, it’s hard to not find something you’ll like with this killer AppSumo deal.

Taking Submissions: The Journal of Compressed Creative Arts

Deadline: December 15th, 2018
Payment: $50

The Journal of Compressed Creative Arts is looking for, as you might guess, “compressed creative arts.” We accept fiction, creative nonfiction, poetry, mixed media, visual arts, and even kitchen sinks, if they are compressed in some way. Work is published weekly, without labels, and the labels here only exist to help us determine its best readers.

Our response time is generally 1-3 days. Also, our acceptance rate is currently about 1% of submissions. We pay writers $50 per accepted piece and signed contract.

We are open for compressed poetry, compressed prose fiction (including prose poetry), and compressed creative nonfiction during two reading periods: September 15 – December 15 & March 15 – June 15.

The reader for your submission is, during this current round of submissions, the managing editor.

Please be sure to submit in the correct category; we’ve been receiving several fiction submissions in the creative nonfiction category.

For all submitters, we aren’t as concerned with labels—hint fiction, prose poetry, micro fiction, flash fiction, and so on—as we are with what compression means to you. In other words, what form “compression” takes in each artist’s work will be up to each individual. However, we don’t publish erotica or work with strong, graphic sexual content.

In short, we want to fall in love with your work. That might happen in the way we’ve fallen in love with work we’ve previously published, or it might happen in a way we have yet to experience. Maybe reading that other work will help in knowing whether you should send your work to us, but in truth, such a thing might not be discoverable.

Here are things that matter:

  1. Please do not include any contact information, including your name, in the manuscript. Do not include a cover letter as part of the manuscript document.
  2. Please include, as part of your cover letter, a brief bio.
  3. Please no more than one submission of a single piece in each genre per reading period.
  4. Simultaneous submissions are fine with us, but please let us know if the submission has been accepted elsewhere. Failure to do will result in some facsimile of your face being put on the Matter dart board. And no one wants that.
  5. Please format prose to be double-spaced, 12-point Times New Roman font, in a Microsoft Word document. Poetry can be single-spaced.

Please submit your work here.

Via: Matter Press.

Taking Submissions: Every Day Fiction January 2019

Deadline: December 27th, 2018
Payment: $3

We are looking for winter and holiday stories for January 2019, including:

  • New Year’s Day
  • Epiphany / Three Kings’ Day
  • Martin Luther King Day
  • anything winter or snow related
  • tropical getaways / escape from winter weather

The deadline for these stories is December 27, 2018 at the end of the day (11:59 PM Pacific Time).

Every Day Fiction is looking for very short (flash) fiction, of up to  1000 words. There’s no such thing as too short — if you can do the job  in 50 words, have at it! — but our readers prefer pieces that tell or at  least hint at a complete story (some sort of action or tension rising  to a moment of climax, and at least a clue toward a resolution, though  it doesn’t have to be all spelled out).

All fiction genres are acceptable, and stories that don’t fit neatly  into any genre are welcome too. While personal experiences and other  non-fiction can be great sources of inspiration, please turn them into  fiction for us, or send them elsewhere.

Our readership is adult, so children’s stories are unlikely to be  accepted unless they are relevant to adults as well. On the other hand,  we are not impressed by gratuitous sex and violence, or pointlessly foul  language; edgy content should be necessary and appropriate to the plot  and characters.

It ought to go without saying that any story submitted to Every Day Fiction must be your own unpublished original creation. If  you publish a story on a blog, even your own personal blog, or any  website accessible to the general public (i.e., if the story can be  found and read online without a password or friend status or other  limitation), it is considered published and therefore inappropriate for  our market.

Since we do not have the time or resources to manage copyright  permissions, please do not send us works with quoted song lyrics. You  may use song titles and the names of composers, lyricists, and/or  performers, and you may paraphrase or refer to the song lyrics, but we  are unable to publish stories with directly quoted song lyrics unless  they are in the public domain (written before 1920).

We will not publish stories which feature living public figures as  characters, although referencing them (e.g., in terms of a  concert/event/sighting) is acceptable. Historical/deceased public  figures are acceptable as characters. We do not publish fan fiction and  will not publish stories which feature non-original characters, although  referencing them (e.g., in a film, as a toy, etc.) is fine, and  historical/cultural/legendary characters which are clearly not the  property of a single creator (e.g., Santa Claus, King Arthur) are also  permissible.

Submission Process

All stories must be submitted through Submittable — we cannot  accept stories via email or snail mail.

Our maximum response time is 90 days. If for any reason you believe that we have held your story without a response past 90 days, please contact us so we can look into it. We will, of course, do our best to keep our average response time as low as possible; we are currently averaging ? days.

Multiple Submissions & Simultaneous Submissions

We ask that you have no more than three stories in our submission process at any one time. If you have three stories submitted to the regular queue and wish to submit an additional one to the calendar-specific queue for the upcoming month, please query first.

Unfortunately, we do not take simultaneous submissions; please give us 90 days’ exclusive consideration of your story.


We believe in the importance of being paid for your writing, even if  it’s only a token amount. At this time, we are able to offer three  dollars (US$3) for each published story, to be paid via PayPal, with the  option to donate it back to Every Day Fiction if you are so inclined.

More importantly, publication also includes an opportunity to promote  your writing beyond Every Day Fiction. We will gladly provide a link to  your blog or website, and if you have a book on Amazon, we can link to  that as well.

Via: Everyday Fiction.

The Horror Tree Presents…An Interview with Eric S. Brown

Hi Eric, and welcome to Horror Tree! I’m so glad I get to finally sit down and talk to you. It’s been quite the lengthy experience researching all your many books and tracing your career. Coffee or what type of drink to start?

Eric: I’m a coffee person too though I typically prefer mine cold and black. 

Erin: Wonderful, we’ll have coffee then, yours cold and black, mine hot with plenty of cream and sugar. Now that we’re settling, let’s jump right in! Firstly, Eric Brown is a common name even in writing and film, so let’s set it straight which Eric YOU are Eric S. Brown. Tell us a short bit about yourself and what you do.

Eric: I’m a professional horror and science fiction writer living in rural North Carolina. I’ve been a comic book collector since I was four years old, am a diehard BSG fan (or Colonial if you prefer) and am married with two children and two cats. In the last seventeen years I have had over one hundred novels and novellas published along with over five hundred short stories. I’ve also edited a handful of anthologies and currently write ongoing columns for both a local newspaper and Altered Reality Magazine. I’ve written for places as large as Simon and Schuster and Baen Books and places as small as Great Old Ones Publishing and MoonDream Press. As long as there is a paycheck involved, I will write for just about anyone. I became a writer because of my love of genre fiction and comics but it was reading the works of David Drake that taught me how to write. The man is my personal hero of the writing world and I have had the pleasure to meet and work with him on various projects several times. And I suppose I should mention that some of work has been adapted into film. “Bigfoot War” was the first (and most infamous) of those but “Werewolf Massacre at Hell’s Gate” and “Cult of the Shadow People” were produced by a smaller company as well.   

Erin: I’ve scoured through your Amazon and GoodReads and other such pages and my eyes started to bug out realizing how many books you’ve written. From bigfoot to underwater creatures, what is your favorite to write about?

Eric: My favorite changes all the time. I spent eight years writing mainly just zombie stuff, then several more years doing pretty much nothing but Bigfoot horror. This year at least, Mecha, vampires, and psionics have been what I have enjoyed most. I had wanted to do a novel that combined all three of those for a long while but never found a publisher crazy enough to take something like that on until I met Chris Kennedy. His company is truly amazing. I had already done a short story and a book for his Seventh Seal Press imprint set in the best-selling Four Horsemen universe, so I pitched my idea to him and we settled on a deal for a novel entitled “Psi-Mechs Inc”. I wrote the first Psi-Mechs Inc. novel in about a month. When it was released, it did well and was expanded into a trilogy including the sequel novels “Darker Nights” and “The Vampire War.” Chris’s Blood Moon Press imprint released the entire trilogy this year. After that, I went on to write a purely SF novel for Theogony Books, entitled “Miranda’s War,” that is set for release this December 21st. I owe Chris a lot not just for having faith in my work but convincing me that I could write full length novels. Up until “Psi-Mechs Inc.,” I had never written a full-length novel on my own without a co-author but thanks to Chris, I’ve hammered out four already this year. 

Erin: Where do you get your ideas for them from and how do you structure your work. Do you outline or write at will?

Eric: I grew up a horror, SF, and comic book geek so I like to think I am pretty well versed in those genres. Coming up with ideas isn’t really a hard thing. I just think about what I would like to see out there as a fan and run with that. In addition, I have gotten to a point with some publishers like Severed Press where I just write whatever sort of book they happen to need at the moment. Sure, it takes some creativity out of things in a sense but it allows me to write full time knowing I will Lord willing have work that is waiting for me when I finish whatever current project I am doing. As to outlining, I have done it but I usually don’t and certainly never on anything smaller than a full length novel. 

Erin: What advice do you have for other writers who want to write good action sequences into their books?

Eric: Read David Drake, especially his Hammer’s Slammers series. The man couldn’t write a bad action scene if you held a gun to his head and threatened his life over it. Reading his work is how I learned to write action. 

Erin: I saw that the first book in your Bigfoot Wars series was made into a feature film by Origins Releasing. What was the process for you like? What did it entail?

Eric: It all started kind of strange. Studio 3 Entertainment was making a new “Legend of Boggy Creek” film and the director was looking for someone to do a novelization of it. At the time, “Bigfoot War” was huge and fairly unique. He found me because of that book and not only hired me for the novelization but optioned “Bigfoot War” at the same time. Two years went by and I figured nothing would ever come of the option then one day I got a call out of the blue telling me that the project had been given the greenlight. I had my contract a day or two later and got paid for the rights that summer. It was a pretty amazing experience to sell movie rights. I think every writer hopes for that on some level. I however made the mistake that a lot of writers just getting into movies make and allowed the number of zeroes on the check to blind me to the fact that I would have no creative control on the project. I hated the movie but remain thankful for it to this day because that check bought my family and I a lot of freedom for several years. And keep in mind that beyond signing the contract and cashing the check, I had no involvement with the movie whatsoever.

Erin: I saw that one of the executives during the announcement of the film in 2013 said “It seems that interest in Cryptozoology and creatures such as the Bigfoot is timeless and evergreen. It never dies.” Do you think that’s still true, and if so, why?

Eric: I think so. People are always going to be fascinated by the unknown whether that is space travel or monsters lurking in the woods or sewers. There is a great escapism to spending your time reading, watching, or dreaming about those types of things. 

Erin: Just this year, you’ve released I believe at least ten creature novellas and novels mostly all from Severed Press, from Sasquatch to Kraken. I am most excited for Terror Krakens, as I love anything ocean or sea horror/thriller. Firstly, how are you so prolific? What is your writing schedule entail that you can publish so many books?

Eric: Actually, I have had fifteen new books released this year as well as an anthology I complied for Crystal Lake Publishing. I have two more books slated for release by the end of the year as well. As to how I am so prolific, well, I have bills to pay and kids to feed. Not much of a choice really. One had to work to keep the money coming in. It doesn’t hurt that I really enjoy what I do most of the time either.  I don’t really have a set writing schedule. I just get try to dive straight into writing as soon as my wife and kids are out the door in the morning. I like to aim for at least three thousand words a day but that doesn’t always happen. Some days it’s a struggle to get just a thousand and others I can do five thousand or more easily. I’ve been told I am a fast writer, but I don’t see myself that way. I tend to think I am a slacker and know that I could do more than I do if I didn’t read so many comics, etc.

Erin: Oh, wow I counted wrong then. That’s a lot of books! Secondly, how do you research for these various titles and provide examples?

Eric: Yeesh. I don’t really research at all for my monster books unless it’s military jargon or weapons.  I’ve been doing monsters for so long now I am comfortable just writing most of the time. For other books like “Casper Alamo” though, I really had to learn a lot. I wanted to retell the story of the Alamo with Mecha vs. Aliens while keeping it as close to the real-life battle as I could and spent hours learning about the Alamo and its defenders. 

Erin: You also released “Beyond Night” in collaboration with co-author Stephen L. Shrewsbury, which I found interesting myself upon its release as it has fantasy, action, sorcery, horror, historical fiction all rolled into one novel (meshing a lot of my favorite genres together). In the back-cover copy for the title it states: It’s Bigfoot War mixed with Lovecraftian horror on the edge of the Roman Empire. How do you come up with scenarios like this and how do you convince a publisher to take something like on?

Eric: As I have mentioned, I love the works of David Drake. Dave has written a good deal of Roman books over the years and I really wanted to take a stab at following in his footsteps in that regard. Dave is a real scholar while I am just a geek who writes stories so that where Shrews came in. He knows his history, so we tackled that one together. “Beyond Night” is a very Robert E. Howard/David Drake style book. As to how I convinced the publisher, I have no idea. I just asked them and they said yes. I guess looking at my past books they hoped I knew what I was doing. 

Erin: How much research and planning went into it? How did Stephen and you handle co-writing this? What was the process?

Eric: Shrews (Stephen) carried the weight and did all the hard work on the novel. History is his thing. I just came up with the story idea, turned him loose on it, and added a lot of angry beasts tearing folks apart. 

Erin: You have co-authored many other things with various authors as well over a 17-year career. Do you like working with a co-author? What are the positive merits you love and what are the challenges?

Eric: I love working with other writers. It’s always cool to blend two different styles of writing and ways of approaching a given story. The most challenging part for me is usually waiting on my co-author’s next section to come in. I can be pretty driven to get things done and move at a decently fast pace. 

Erin: What would you tell someone who is hesitant to co-write a book with someone else?

Eric: As long as you make sure the person you’re working with is someone you’re comfortable with, there shouldn’t be anything stopping you from doing it. Just know that the book is a team effort and expect to be ready to compromise when you need to. 

Erin: I noticed you often mix history into your various books and it’s safe to say you write across several genres with many of your books. What do you think this lends you as an author as opposed to someone who writes strictly only one genre?

Eric: Nah, not really. I just write what I enjoy whether that’s Roman soldiers, old west gunfighters, or the battlefields of World War II. I’ve always enjoyed reading period stuff so writing it was just something that came naturally to me, I guess. As to your question, I have always believed that a writer can write anything if they put effort into it. Having a varied background in my own fandom though I think may allow me blend things in ways that other writers might not. 

Erin: To go back to the beginning of your career for a moment, many say in 2003 with your first book, you become an expert on the zombie genre. How did evolve? And then how did (it seems it did) your work evolve out of the zombie genre?

Eric: I count it as 2001 with the publication my first story in Burning Sky magazine # 9 which was indeed a zombie story. When I started out, I wanted to be a Military SF writer like David Drake but lacked his real-life military background. At the time, I lived and breathed zombies. I watched all the movies and read most of what few books there were back then as it was before zombies were mainstream. And since it was my zombie stories that sold, those are what I wrote. Don’t get me wrong, I loved writing them too. After eight years of writing tons of zombie stories, people in the small press just started calling me “the king of zombies.” Of course, again this before or right as they were making a comeback. 

As the sub-genre really got popular again, I switched over to writing Bigfoot Apocalypse books like “Bigfoot War.” I credit a lot of folks thinking I am an expert to Jonathon Maberry’s book “Zombie CSU.”
I had taken some extensive time away from writing when my son was born and was shocked when Mr. Maberry wanted to interview me in the book. I ended up having a larger interview in it than Robert Kirkman (mind-blowing but true!) After that, Simon and Schuster hunted me down and picked up the rights to “War of the Worlds Plus Blood Guts and Zombies.” I didn’t even have an agent. I had to get one just to work with them even though they came to me. That was the peak of my time writing zombies and by then I was tired of them as a writer and moved on to Bigfoot horror and other things. 

Erin: How did it feel to write a book with H.G. Wells? *wink* In all seriousness, you did technically as I noticed your “War of the Worlds Plus Blood Guts and Zombies” you had written years ago, in which you interspersed content in the way of “Pride of Prejudice Zombies,” correct? That’s pretty interesting! What was that writing process like and how did you make it flow so seamlessly? Were there any rules you had to follow?

Eric: Well, he was dead so I pretty much had control. I was hired to rewrite “War of the Worlds” into a serious zombie apocalypse novel, not just a parody like the ones that were being cranked out at that time. It was a very easy gig. All I had to do was rewrite an existing novel adding lots of undead and gore along the way. I want to say it took me about two weeks to do it. It was a crazy small amount of work considering what I got paid. As to how I made it flow, I just re-read a lot of Wells before I started and did my best to mimic his voice. 

Erin: How important do you think it is for an author to find a saleable niche? Do you write what you love or write what sells and in your case is it both?

Eric: I write what pays the bills first and foremost. As a family guy I have to. That said, I really look forward to when a publisher agrees to let me do something I want because of the sales on the things I did for them. Even while I am cranking out whatever books the publishers I work with need, I am usually dreaming about the next project that’s something I just really want to do like “Bigfoot War” and “Psi-Mechs Inc.” were. 

Erin: Of your various series, which monsters do you like best personally: Bigfoot, Megalodon, Kraken, Kaiju, etc. and why?

Eric: I owe a great deal of the success I have had in my career to “Bigfoot War” and it was a very personal book for me as well. That said, I like writing mecha and genre bent, war stories in general more than anything else. 

Erin: Which ones are most popular with the public or readers?

Eric: “Bigfoot War” remains the most popular of everything I have done even surpassing my mass market novel with Simon and Schuster or the stories I have done for Baen. “Bigfoot War” was very unique and different when it was released all those years ago and it’s still, I am told, a very fun horror read today. 

Erin: This year also saw the release of your collected stories of The Monster Society from Eric Flint’s Ring of Fire Press, whom you wrote stories for under his 1632 Grantville Gazette universe. Because I love history, it sounds intriguing to me. Can you tell me a bit about both, the latter first, and then about your collected stories you released this year….

Eric: I am a fan of Baen Books largely because of David Drake and though he’s my favorite, he’s not the only Baen author I read. I had read and liked Eric Flint’s 1632 series and randomly met the editor of the Grantville Gazette at a con. He asked me to try my hand at a story and before I knew it, I had over a dozen stories published in the Gazette. Nine of those were about a group of kids who are heavily into LARP (live action roleplaying) and made up a series entitled The Monster Society. The series was shockingly well received by readers of the Gazette despite being more of a coming of age tale that just happened to be set in Flint’s world than any actual alternate historical events. And as you mentioned, the collected edition of them was just released by Ring of Fire Press this year. If you’re the sort of person who enjoys stuff like “Stranger Things,” odds are you will enjoy them too. 

Erin: I know I’ve exhausted you with these questions, but I think researching how much content you put out exhausted me. 😊 In all seriousness, do you do this for your actual day job? If so, what advice can you give to other authors about writing process, quotas, and the business to help them formulate decisions on becoming a full-time writer?

Eric: Writing is my day job. It’s not always easy but I wouldn’t trade it for anything. I feel very blessed to pay the bills making up stories. If you’re a new writer just write every day, as much as you can, and don’t be afraid to send your work out to editors. Don’t waste your time with writing groups, family members, or friends reading it. Get it into the hands of someone who can buy it. 

Erin: Any rituals or quirks to your writing process?

Eric: Yes. I write in my car. It started when I was the assistant manager of a video rental store and would write in the parking lot outside of it before going home every night. My car just became my “zone” for writing and has stayed that way ever since. I also like to listen to music while I write, mostly Rush. 

Erin: What’s next for you in 2019?

Eric: Not sure yet. I am at work on a new Bigfoot book currently and my next SF novel, “Miranda’s War,” is slated for December 21st release at the end of this year. I guess we’ll have to wait and see together.

Erin: Thanks so very much Eric for being patient with me and answering all these questions. Congratulations on such an extensive career and best wishes for the future!

Eric: Thanks for having me over. This was fun.


Eric S Brown Biography –

Eric S Brown is the author of numerous book series including the Bigfoot War series, The Psi-Mechs Inc. series, the Kaiju Apocalypse series (with Jason Cordova), the Crypto-Squad series (with Jason Brannon), and the A Pack of Wolves series. Some of his stand alone books include War of the Worlds plus Blood Guts and Zombies, Casper Alamo (with Jason Brannon), Sasquatch Island, Day of the Sasquatch, Bigfoot, Crashed, World War of the Dead, Last Stand in a Dead Land, Sasquatch Lake, Kaiju Armageddon, Megalodon, Megalodon Apocalypse, Kraken, Alien Battalion, The Last Fleet, and From the Snow They Came to name only a few. His short fiction has been published hundreds of times in the small press in beyond including markets like the Onward Drake and Black Tide Rising anthologies from Baen Books, the Grantville Gazette, the SNAFU Military horror anthology series, and Walmart World magazine. He has done the novelizations for such films as Boggy Creek: The Legend is True (Studio 3 Entertainment) and The Bloody Rage of Bigfoot (Great Lake films). The first book of his Bigfoot War series was adapted into a feature film by Origin Releasing in 2014. Werewolf Massacre at Hell’s Gate was the second of his books to be adapted into film in 2015. Major Japanese publisher, Takeshobo, bought the reprint rights to his Kaiju Apocalypse series (with Jason Cordova) and the mass market, Japanese language version was released in late 2017. Ring of Fire Press has released a collected edition of his Monster Society stories (set in the New York Times Best-selling world of Eric Flint’s 1632). In addition to his fiction, Eric also writes an award-winning comic book news column entitled “Comics in a Flash” as well a pop culture column for Altered Reality Magazine. Eric lives in North Carolina with his wife and two children where he continues to write tales of the hungry dead, blazing guns, and the things that lurk in the woods.










Trembling With Fear 11/18/2018

We are creeping towards Christmas and stories are flowing in for our Special so this weekend I am hoping to make a dent in reading those submissions. It’s been difficult in the past fortnight to keep track of things, what with NaNoWriMo, joining an online writing group and keeping on top of everything else. However, with the Rugby World Cup firmly underway, my husband is taking our children off to Cardiff (they identify as Welsh on these occasions) and I am remaining at home. It will be peaceful and I will get a lot done … probably … possibly.

With regard to submissions, the time has come to repeat or introduce a few MUSTs in terms of how you send in your stories. Some of this is already on our submissions page, other bits I hope Stuart will add in the near future. But:

  1. All submissions, including drabbles, must be sent as attachments NOT in the body of the email.
  2. Do NOT use spaces to indent the first lines of paragraphs, use the first-line indent feature in Word. I’ve often seen this requirement stated on other sites and I assumed it was simply to keep alignment tidy. I’ve always used Word’s paragraph features, it’s easier and tidier. However, I have now seen exactly what can happen if you don’t do this. A story has appeared in our anthology with the paragraph breaks removed. Investigation revealed spacing had been used rather than the paragraph feature. A standard routine of mine in all work is to do a search and replace of double spaces. I have always assumed everyone used paragraph features as industry standard so never checked for paragraph breaks afterwards, assuming the search and replace would leave this alone (which it does). BUT if you use spaces for paragraph indents your lovely paragraph breaks get swept up and vanish. So please, DO NOT use spacing. Use paragraph settings and proper alignment for centring. (Corrections have been made to the anthology and a few other glitches swept up.)
  3. Single spaces after full stops.
  4. No underlines, italics to be used instead.
  5. Times Roman 12 pt preferably
  6. Double quotation marks for speech.

In general, if in doubt, follow the format here https://www.shunn.net/format/story.html.

Going back to NaNoWriMo, I’ve hit the 30000 mark and it’ll probably be higher by the time you’re reading this but only now is a story emerging. I actually think I’ve got two different stories which will need splitting apart but I am moving on and Grandma is taking on a bigger role in the story. I know many others have a less convoluted story development because they plan but I can’t do it. How about everyone else, stories turning out like you planned? Two weeks to go and then it’ll all be over for another year. Still can’t work out quite why I put myself through this …

Remember also, that in addition to the Christmas Special, we want stories from those in the LGBT+ community for a January Special. Drabbles, short flash, dark poems, serials, all welcome.

Before I go, congratulations to:

Alyson Faye with a latest anthology inclusion in Crackers by Bridge House Publishing and also her short collection of ghost stories in Trio of Terror – Supernatural Tales (which I’ve downloaded and hope to read soon).

If you’ve got something published anthology, collection, online or print. Let us know and we’ll give you a mention so we can all celebrate together.

Sledge Lit in a week’s time, might see some of you there.


Stephanie Ellis

Editor, Trembling With Fear

Stan Lee passed away this week. Even if you weren’t a fan of comics or comic movies it is hard to deny the mark that this creative genius has had upon the world. Stan “The Man” Lee has long been a beacon of hope and an icon on the comic industry. He is responsible for helping to create and grow some of the most influential superheroes and villains of our day.

RIP Stan Lee.

‘Trembling With Fear’ Is Horror Tree’s weekly inclusion of shorts and drabbles submitted for your entertainment by our readers! As long as the submissions are coming in, we’ll be posting every Sunday for your enjoyment.

Stuart Conover

Editor, Horror Tree

The Last Scar

The morphine is starting to kick in when Sergeant Freeman raps his nightstick against my door. The key clicks in the lock, and the burly Marine steps into my room. “Stay where you are,” he says, as if as if I could leave my bed without help and enough morphine to put an elephant in a coma.

Dr. Lanfield comes in behind Sergeant Freeman, a gaunt shadow in white lab coat. “Hello, Scar. How are you feeling?”

“Not my name.” I work the words through my uncooperative mouth. A grenade blast removed most of my right cheek three months ago. The scars have all but frozen the right side of my face.

“I’m sorry, Kyle.”

Usually he’d go on calling me that bullshit name, but he wants something, and he thinks it’ll be easier if he plays nice or pretends to. Fuck him.

“We have a mission for you.”

The drugs have dulled the nerve-scraping agony along my spine enough to sit up. “No more. Finished.” The word mission sent daggers of terror into my brain, but I won’t let him see that fear.

Dr. Lanfield sits in the plastic chair opposite my bed. Behind him, Sergeant Freeman looms. There was a time I might have fought them, and I know Freeman just aches for it, the sadistic fuck. But all I want now is to let the world slip away in a narcotic haze.

The doctor leans forward, feigning the compassionate physician. His usual bedside manner involves restraints and Freeman’s nightstick. “I know you’re hurting, and I know we haven’t always seen eye-to-eye, but your ability has saved a lot of important lives.”

I sneer at him. The shape of my mouth makes that one easy. “What about my life?”

“I’m sorry about all that, Kyle. Truly. How were we to know your gift would have these . . . unforeseen consequences?”

I chuckle, even though it feels like my face might rip apart. I can heal any wound, no matter how bad, just like those guys in the comic books. Unlike those high-flying heroes, whose bodies heal perfectly every time, my gift–as Dr. Lanfield like to call it–leaves behind scars.

The scars are no big deal when it’s a superficial cut or even the odd broken bone. They’re an altogether different matter when you eat a full magazine from an AK-47 to save the Vice President from yet another assassin. I healed, but each bullet left behind scar tissue in my lungs, in my liver, in my muscles. They called me a hero, but I didn’t feel like one when I jumped through the eighth story window of the military hospital they keep me in, hoping the glass and the fall would kill me. It’s not exactly comic book material when you wake up with most of your body held together with yet more scars and the knowledge maybe not even death can free you.

“No more.”

Dr. Lanfield shakes his head and sighs. “I could let Sergeant Freeman persuade you, but with your rapidly deteriorating condition, that would not suit our purposes. So I will make you an offer. Complete this mission, and it will be your last.”

“Don’t believe you.” I hate the tiny spark of hope his words have kindled. He’s lied to me before.

Dr. Lanfield shrugs. “Believe what you want. The mission requires only that you do what you do best: survive. Well, for a little while. Then it’s over. The missions, the pain, all of it.”

The tears surprise me. They stream down my battered face, a white flag signaling my compliance. I want what he is offering bad enough to do what he wants. He knows it, and his smile communicates that perfectly.

“One more.” The desperation I hear in those two words hurts almost as much as speaking them.


My glider is remote piloted and flying low. They told me the enemy would not detect the aircraft until it was too late. Outside the canopy a city appears on the horizon. It is the heart of the enemy’s empire, five million people.

They’ve seen the glider, but they can’t just destroy it. I’m too close. I could be carrying anything. Small arms fire erupts from the ground and bullets pierce the thin fuselage. I take a hit in the right leg, the left arm, and one bullet plows up through my left buttock, through my chest, and bursts from my neck in shower of blood. The wounds heal almost instantly, leaving keloid trails in my skin. I have enough morphine in my system to keep the pain at bay for now.

The glider shakes as the bullet holes compromise its aerodynamics, but I’m close. Buildings loom ahead, and the glider takes a sharp nosedive between them. People scatter as the ground rushes up to meet me. I brace for the impact, folding my body around the device.

Awful pressure.

Breaking glass.



The pain is a demon raking fire across my body when I come to. I would scream, but I can’t draw enough air. A piece of rebar has punctured my chest and both lungs. My body has healed around it. Many of my bones have broken and then mended in gruesome, unnatural angles.

Voices drift through the shattered canopy. The enemy approaches.

Fighting through the agony, I inspect the device. It is intact. I toggle open the switch guard, and the button beneath flashes red. Dr. Lanfield promised this would be my last mission. He promised an end to the pain. For the first time he told me the truth. I don’t think even I can come back from a thermonuclear blast at ground zero.

Frantic voices and then gunfire erupt outside the ruined glider. Bullets riddle my body, but I barely feel them. I will leave behind one last scar. I close my eyes and press the button.


Aeryn Rudel

Aeryn Rudel is a writer from Seattle, Washington. His second novel, Aftershock, was recently published by Privateer Press, and his short fiction has appeared in The Arcanist, Havok, and Pseudopod, among others. He occasionally offers dubious advice on writing and rejection (mostly rejection) at www.rejectomancy.com or on Twitter @Aeryn_Rudel.

Demon Cloud

Black clouds of boiling obsidian, advanced across the horizon.

Even on the twentieth floor he heard mankind’s screams of primal fear.

Opening the window, he climbed out onto the ledge, two hundred feet above the car park.

There was no refuge, no escape, no hope.

The dark wall of judgement came on with increasing rapidity, whilst the cities lights failed, blinking out and mimicking the human life subsumed into Hell’s onslaught.

And in the cloud, he saw the demons brandishing their brutal inferno.

He jumped, praying for a desperate freedom in death.

His torn, rendered body, never touched the ground.

Martin Fuller

Martin lives in Menston in West Yorkshire. He was in his previous exitances: –

a beer salesman, a pall bearer and a police officer for over 34 years. These days he tops up his pension as a part time delivery driver for a car rental firm.

He started to write in 2013 after attending a local creative writing class.

Discovering his dark side, Martin has had several stories published by the on-line magazine ‘Horror Tree’ (www.horrortree.com/trembling-fear-11-19-2017) and in two anthologies from Otley writers. ‘The Pulse of Everything’ and The Darkening Season’ (available to buy on Amazon). He has appeared also in ‘Tycho Alba’: short stories by new Leeds writers, edited by S.J.Bradley published by Comma Press.

His dark fiction will next appear in October 2018 in Deadcades, an anthology published by indie press The Infernal Clock (http://infernalclock.blogspot.com/2018/05/deadcades-anthology-final-author.html)

Currently, he tinkers with a blog using his dated and dodgy technology skills.  

The Rejected

Ian clenched a butchers knife in his meaty fist as he read the letter. His chest tightened and he gasped breaths of ragged fury through his gas mask. When he finished reading, he stabbed the letter into the wall with the others. He produced a notepad from his jacket and copied the signed name to his list.

Ian plopped back onto the stool at his workstation and continued his delicate work, lacing a stack of envelopes with anthrax. He copied the list of names onto the envelopes.

The editors had sent their last rejection slips.

Now it was Ian’s turn.


Eric S. Fomley

Eric S. Fomley writes Science Fiction, Fantasy, and Horror short fiction. He is the editor of Martian Magazine and the Timeshift and Drabbledark anthologies. His work has appeared in various venues including previous publications with Trembling with Fear. You can follow his publication on his website ericfomley.com or on Twitter @PrinceGrimdark.

Two of One

My shadow has been fucking with me lately.  It stops following me.  I always know, because there’s a chill at my back as if I’ve been stripped naked.

When I go back after it, it starts flitting around, an ethereal squirrel.

This time I trap my shadow and lay face-down on it.  There’s a wiggle, a thrash, a muffled hissing sound.  Then a jolt, like the touch of an exposed wire, propels me onto my back.

This time I can’t get up.  But I’m already up there, laughing at my dark form on the floor.  I watch me walk off.

F.M. Scott

F.M. Scott is from Tulsa, Oklahoma, where he lives and writes.  His work has appeared previously in Trembling with Fear, and he was a finalist in the inaugural Flash Fiction Contest sponsored by The Tulsa Voice and Nimrod International Journal.  His short story “Isolated Drums” was recently published in the first issue of The Rock N’ Roll Horror Zine.


Facebook and Twitter @fmscottauthor

Jeremy’s Journey

The sun rose, and Jeremy’s journey begins.
Down from the temple and into the world.
Over a path carved into the mountains a Millennium ago.
The teachers taught Jeremy to survive the trials.
Yet no students had returned in decades.
Jeremy stared down the wolves, and they let him pass into the forest.
Beyond it, the darkness beckoned.
He brought fire to lighten the way, and the darkness unfolded before him.
A fork in the road offered two paths to choose.
One was worn.
The other unused.
Jeremy set off on the path most traveled.
Tomorrow another’s journey shall begin.

Stuart Conover

Stuart Conover is many things… A father. A husband. A messiah. A rescue dog owner. A Writer. An editor.

But most importantly this week he is in mourning over the loss of Stan Lee.

Always the showman, we can at least honor this icon’s legacy by continuing to entertain the world which is one of the most important things that help keep both the creators and those who enjoy our work going.

‘Nuff said.

Story Worms: You are More Than your Wordcount

November. I bet, if you’re not doing it yourself, you know someone who’s frantically scribbling away for National Novel Writing Month (NaNoWriMo). Have they been hiding? Not answering your calls? Are they looking a little pale from lack of sunshine? Don’t fret. It’s normal. They’ll be back to their usual self by December.

Because, taking on a challenge like writing 50,000 words in a mere 30 days is life-absorbing. Take it from a veteran NaNo-er; you don’t have time for socialising. For friends. For family. You know; frivolous things like eating and sleeping. But, in all seriousness, I’m not even joking. NaNoWriMo consumes your life for one month a year. And, with Christmas on the horizon, it’s not even a quiet month besides the writing.

I’m a great fan of NaNoWriMo. Yes, some people decry it as a pointless exercise that promotes quantity over quality, and produces nothing but bad, unpublishable fiction. True. Absolutely true. But then, how many first drafts are of a publishable standard?

NaNoWriMo also promotes some great habits; writing every day, sticking to a deadline, companionship, turning off the inner-editor, and, at the end of the day, just writing. Just doing it. I love NaNo, I really do. But there is a potentially harmful side to it, too.

I see a lot of people side-lining their health, both physical and mental, to chase that target wordcount. People stressing to the point where it’s really affecting their wellbeing. Putting themselves second to that wordcount goal. Let me say this: you are far more important than your wordcount. Let’s say that again: you are far more important than your wordcount.

If you need a day off, take it. If you want to go for a walk, or watch trashy TV, or read a book, or eat cake, or whatever you need to keep yourself well, do it. Your writing will still be there tomorrow. And don’t feel guilty for it, don’t feel like you’ve failed. Because your writing needs you to be healthy. If you want to write well, you need to look after yourself as well as the words.

At the end of the day, if you end November with 20,000 words, you may not have the big NaNo win, but it is a huge win in itself. A huge win. Which other months have you managed to write 20k? Celebrate what you achieve, don’t focus on what you don’t.

Take care of yourself. You are so much more important than your wordcount.

The Horror Tree Presents…An Interview with K.R. Rowe.

Claire: Hi K.R! Great to chat to you. Let’s jump right in. Tell me about you!

K.R. Rowe: Hi Claire!  Thank you so much for having me.   I’m honoured to be interviewed here at The Horror Tree.  I’m a wife, mom and lover of the mountains and all things outdoors.  I am fortunate to have two precious rescue chihuahuas and one ornery cat.  I also love horror, heavy metal, animals, cheesecake, Milkduds, and writing.  In my spare time, I love to hike and occasionally kayak.  If I don’t get my outdoor time, I start to have withdrawals. 😊  I was born and raised here in Chattanooga and have family throughout the South and the Appalachian Mountains.

Claire: What are you working on at the moment? Would you like to tell us what it’s about?

K.R. Rowe: I’m on my fourth novel now.  The first two, Amber and Blue and its sequel Victory, are romance/suspense but the third, Blood of the Sixth, is paranormal horror.  My fourth will be paranormal horror as well.  If I had to choose my favourite, I think it would be Blood of the Sixth.

Claire: Tell me about your books. You feature ‘Blood Of The Sixth’ and ‘Amber And Blue’ on your Facebook author page and describe them as Southern Gothic. What do you mean by that?

K.R. Rowe:  Amber and Blue and Victory are romance/suspense/action.  Blood of the Sixth is paranormal horror, and one reviewer has described this one in particular as Southern Gothic.  The setting is the fictional town of Port Bella Rosa, Louisiana.  Southern Gothic Horror is described as having a setting in the Deep South with characters who are usually complex and often mentally unstable.  I didn’t realize that Blood of the Sixth would be considered Southern Gothic at the time of writing but many of the elements do fit within the style.

Claire: You describe your genre on your Facebook author page as romance/action. How do you blend the two?

K.R. Rowe:   Sometimes love makes people do crazy things, and in Amber and Blue and Victory, you will find this to be true.  I think excitement and romance go hand in hand, so the action is a natural by-product of the mix.

Claire: What advice would you give to authors who want to fuse the two genres together? Or any two genres?

K.R. Rowe:  My advice is to let the story flow naturally.  If you end up with action in your romance, then it was meant to be.

Claire: Do you find it difficult to write different genres?

K.R. Rowe:  Not at all.  I love romance, and I love horror.  I think if you look closely, you will find a little romance in my horror as well.

Claire: Tell me about the inspirations for your books. You mention the Appalachian Mountains on your Amazon author page. Has this location always inspired you? What else do you draw inspiration from?

K.R. Rowe:   The Appalachian Mountains played a huge role in Amber and Blue as two of the main characters met there.  The first scene in Amber and Blue was inspired by The Fontana Village Lodge.  A lot of inspiration comes from music as well.  One of my favourite characters in Amber and Blue is a psychopath inspired by the song Possum Kingdom by the Toadies.  I draw inspiration from multiple places, many of which are right here in my hometown of Chattanooga.  For instance, a tree growing along the side of the highway once inspired one of my flash fiction stories, and a photo of an umbrella discarded on cobblestones inspired Blood of the Sixth.

Claire: Do you conduct specific research for your stories?

K.R. Rowe:  I do a lot of research online.  I do love to visit the places I write about as well, even if these places have inspired a fictional location.  I’ve been to the mountain lodge, and the bunkers mentioned in Amber and Blue and I have also visited Old Montreal in Canada.  It is a beautiful city, and I am anxious to go back.

Claire: Tell me about your writing process. Do you set aside time to write? Do you write on a schedule?

K.R. Rowe:  I work full time during the day and recently I have been so busy it is difficult to find time to sit down to write.  I rarely write on a schedule.  I will find time in the evenings usually when dinner is done, and things are quiet.

Claire: You’ve received great reviews on Amazon. How important do you think reviews are for authors? How important are reviews for you?

K.R. Rowe:  I think reviews are very important.  I do pay close attention to what people say, good or bad, and remember it while writing my next novel.  Although I can’t please everyone, good constructive criticism can be a great learning tool.

Claire: How long have you been writing? Have you always written romance/action, or did you develop your niche over time?

K.R. Rowe: I’ve written poetry since I was in my early teens, maybe longer but I can’t remember anything specific before then.  I also wrote short stories about my friends as a teenager and odds and ends throughout my adulthood.  I didn’t become serious about novel writing until around 2010.  I enjoy a good romance and I think that the genre came naturally, but I ended up killing a lot of people in my books and wondered why I was writing romance!  Haha!  I switched gears to horror and find that I absolutely love writing the genre as it allows me more creative freedom.

Claire: Tell me about your protagonists. Do you base them on people you know? Or are they purely fictitious?

K.R. Rowe:   Although many are named from people I know, my characters are purely fictional.

Claire: You mention in your website bio about spending free time with your family. How important do you think it is for writers to take time away from writing to delve back into ‘the real world’?

K.R. Rowe:  Oh, it is very important.  It is great to live in the fictional world in my head for a little while, but we only have one life to live, and we need to live every second to the fullest. It is important to spend time with loved ones because we will never get that time back.

Claire: Writers are weird, right? What’s the strangest/most interesting thing about you?

K.R. Rowe:  I have a foul sense of humour and am difficult to offend. 😊 

Claire: Tell me about your future projects.

K.R. Rowe:  Currently, I’m working on my second horror novel.  It is paranormal, much like Blood of the Sixth and if you like demons, you’ll enjoy this one.  I hope to have it ready in 2019 or 2020.

Claire: And finally, you’re stuck on an island with only one book. What’s the book?

K.R. Rowe:   101 Ways to Cook Fish! 😊

Contact Info:

Blog: https://krrowe.wordpress.com/

Website:  http://krrowe.com/

Twitter: @KRRowe

Facebook: https://www.facebook.com/K-R-Rowe-Author-333526920072279/

Amazon Author page: https://www.amazon.com/K.-R.-Rowe/e/B00BF3AURE

Goodreads:  http://www.goodreads.com/author/show/6571714.K_R_Rowe

Email:  [email protected]

Taking Submissions: Bennington Review

Deadline: May 15th, 2019
Payment: $100 for prose of six pages and under, $200 for prose of over six pages, and $20 per poem and 2 contributor’s copies

Bennington Review is published twice a year in print form, Summer and Winter. Submissions are customarily read every fall, winter, and spring. The next submissions period will be from November 1, 2018 to May 15, 2019.

We aim to stake out a distinctive space for innovative, intelligent, and moving fiction, creative nonfiction, poetry, film writing, and cross-genre work. In the spirit of poet Dean Young’s dictum that poets should be “making birds, not birdcages,” we are particularly taken with writing that is simultaneously graceful and reckless.

We only accept unsolicited submissions through Submittable. There is, at present, no reading fee. We are unable to respond to paper submissions or unsolicited e-mail submissions, or to comment on individual pieces.

We pay contributors $100 for prose of six pages and under, $200 for prose of over six pages, and $20 per poem, in addition to two copies of the issue the piece is published in and a copy of the subsequent issue.

Work must be previously unpublished in print or online, including on personal blogs.  Prose submissions must be double-spaced and paginated. Please include a cover letter with your submission. We welcome simultaneous submissions, as long as you notify us immediately when work has been accepted elsewhere.

We do not accept unsolicited submissions from current or recent students, faculty, or staff of Bennington College. Undergraduate and graduate alumni, as well as past employees of Bennington, are asked to wait two years before submitting work to the magazine.

We welcome submissions from established and emerging writers alike. We ask that writers who submit to the journal possess a familiarity with contemporary literature in the genre of their work. For poetry, please send no fewer than three and no more than five poems per submission. For fiction and creative nonfiction, please send no more than thirty pages per submission; any excerpts from a longer project must work as self-contained essays or stories.

For film writing (and/or television writing), we are not looking for evaluative “reviews”; rather, please send essays  that engage with cinema in a unique and/or personal way. We want writers who are aware of the greater cultural, aesthetic, and social significance of their subject, be it domestic, international, avant-garde, classic, or contemporary cinema. We will also consider pieces on television, video art, viral videos, Vines, or any of the other alternative forms that moving images might take. Our preferred length for film writing is 10 to 20 pages. Pitches are welcome and encouraged.

We are additionally interested in publishing translations: translators should have permission from the copyright holder and a copy of the work in the original language.

We do not accept unsolicited reviews or interviews, though we are always happy to entertain queries about genres of work that fall outside the journal’s current scope.

We will consider all submitted work for the print journal; some work will additionally be featured on Bennington Review’s website. We acquire first North American serial rights for all accepted work.

If you have any questions about these guidelines, please email us at [email protected].

Via: Bennington Review.

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