Taking Submissions: The Devil You Know

Deadline: April 30th, 2020
Payment: US$20 and copy

Critical Blast Publishing is now reading for THE DEVIL YOU KNOW, an anthology featuring people’s different encounters with Old Scratch, Lucifer, Satan… in other words, The Devil. Stories can run the range from horror to comedy, and the best will be a blend. Is there a contract at stake? A random encounter? Do you win, lose, or call it a draw?

Entries should be under 9000 words. R-rated is fine, but do not submit porn.

Deadline for submissions is April 30, 2020. Send submissions in MS-Word format to [email protected].

Upon acceptance, payment is US$20 and copy. Discounted copies to authors available after publication.

Via: Critical Blast.

Taking Submissions: AE Micro: Stars

Deadline: January 15th, 2020
Payment: $0.10 CAD per word (with a minimum of $20 for very short tales)

Submission Guidelines (fiction)

It’s AE Micro time again. We give you a theme. You send us a very short story. We pick the best and publish a microzine.

This year’s theme is “stars“. Become a galactic idol, journey to a white dwarf, or follow your horoscope.

We will select a minimum of five entries for publication in the microzine: three Canadian stories and two international. As always, we publish science fiction, though our interpretation of the genre is broad and ‘speculative’ fiction without a science-y feel is welcome. The word limit for this one is a minuscule 200 words.

Requirements and details: Submissions must be previously unpublished (in print or online) and should stand alone (i.e., no excerpts from a larger work). Simultaneous submissions are accepted, but please let us know if your piece is selected elsewhere. Please submit no more than two micro submissions at a time. We buy First Serial and First Electronic rights and non-exclusive Audio rights.

AE is proud to offer all fiction authors reimbursement of $0.10 CAD per word (with a minimum of $20 for very short tales), paid within 60 days of acceptance.

Licensing: All content in AE is licensed under a Creative Commons Attribution NonCommercial NoDerivatives license upon publication. We believe in the Creative Commons mission and feel that it benefits both authors and their readers by allowing creators to reach the widest possible audience. Note that the use of the Creative Commons license has no effect on the ability or right of the author to sell reprint rights, film rights or other secondary rights in the future. Copyright remains at all times with the author, and commercial reproduction is prohibited.

Response Time: we aim to respond to all queries and submissions promptly. Please feel free to send a follow-up query if you have not heard from us within 90 days.

Deadline: The current call for proposals will be open until 15 January 2020 at 11:59PM EST.

How to submit a story: Submit your story online using the form below. Please register an account to help us communicate with you: users can see the status of their submission, make changes, and let us know if they need to withdraw.

We strongly encourage you to user the form below – but you may alternatively email your story to us. Please note the following instructions for email submissions: Please include a brief cover letter and the full text of your story (preferably in plain text) in the body of an email addressed to [email protected]. We will not open any attachments. The very first thing in your subject line should be “CDN Sub” if you are a Canadian citizen or current Canadian resident, otherwise your subject line should begin with “INT Sub.” This is very important, especially if you are Canadian. We publish a limited number of international stories. The subject line must also contain both the title and approximate word count of your piece, like this: “CDN Sub: ‘Title of Story’ (1300 words).” The cover letter should include your name, byline (if different) and a brief (70 words, at most) biography. We will contact you at the same email from which you sent your submission.

Interested in writing something else? We’re also looking for non-fiction contributors and we’d love to hear your idea. Please contact us directly. At this time we cannot reimburse authors for non-fiction contributions. Interested in contributing visual art? We buy art primarily on contract for our specific needs. AE buys first rights and pays between $50 and $300 CAD per illustration depending upon size and intended use.

Via: AE Scifi.

Taking Submissions: Corvid Queen

Deadline: December 31st, 2019
Payment: $5

01. CALL FOR SUBMISSIONS

Submissions to Corvid Queen are open four times per year: March, June, September, and December. We publish one piece every Friday.

We’re looking for original feminist tales, feminist retellings of traditional tales, and personal essays related to traditional tales. We like work based on fairy tales, folklore, myths, and legends. We accept fiction, poetry, creative non-fiction, and pieces that are in-betweeen. We generally publish pieces that are 1,000-2,500 words, although we will consider shorter or longer pieces if we really love them.

Please note that you do not need to be female or femme to submit a piece; writers of any gender identity and expression are welcome.

02. SUBMISSION PROCESS

To submit a piece, please fill out this submission form. You may submit one piece every reading period.

If your piece is accepted, you’ll receive an email with a publication date & a contract. After the contract has been digitally signed, we’ll send another email with payment confirmation, any suggested edits to your piece, and options for a featured image.

We offer an honorarium of $5 for each accepted piece.

03. FURTHER READING

We encourage you to read through the journal to get a sense for the stories that speak to us. If you’re curious about what we consider to be a feminist fairy tale, we also encourage you to read this conversation about subversions of fairy tale femininity.

General Policies

We accept simultaneous submissions. We only accept reprints from defunct blogs, magazines, and presses, or reprints of work authors have chosen to re-home for ethical reasons.

We will not accept anything that promotes racism, sexism, homophobia, transphobia, or other oppressive and harmful viewpoints, or anything that uses sexual violence for shock value. We will not read anything submitted by abusers, and we reserve the right to remove any published piece from our site.

Each reading period, we choose a charity we want to support. This month’s charity is Polaris, an organization that combats human trafficking. If you provide proof of a donation of at least $10 to Polaris, you can upgrade your submission: you can choose to receive your submission decision within 24 hours, or receive 200 words of editorial feedback on your submission.

We aim to respond to all submissions in the month after the reading period ends. However, if you don’t hear from us in that time, please feel free to send a follow-up email!

 

Via: Sword and Kettle Press.

Serial Killers: Stilt Walkers. Part 1

Serial Killers are part of our Trembling With Fear line and are serialized stories which we’ll be publishing on an ongoing basis.

Little Buddy Lab Rat

Amber sucked in a quick gasp of air.

“Was I asleep?”

If she had drifted off, it hadn’t been for long. A dirty stuffed toy mouse sat in her lap having fallen from her fingers. The toy was a prize won from the arcade crane machine. She picked it up and dusted it off. “You’re supposed to keep me awake, Mister Jonesy. Don’t let me do that.”

Quiet suburban homes sat like uniform tombstones across the neighborhood from her perch. There were just a few floor plans in the whole development, each flipped, mirrored, turned and painted different colors to fake variation. This wasn’t her treehouse. The treehouse and split-entry below belonged to an old retired couple with no kids. But nobody used the treehouse besides her, so in a way, it kind of was hers. Her mom’s house, where she still lived, was a few blocks over. But this was one of her sentry posts she’d picked out to keep watch. To watch for them.

“See any of them yet, Jonesy?”

The mouse didn’t answer. Crickets and frogs sustained their midnight anthem of creeks and croaks.

She peered out from the treehouse and scanned the night. So far, all clear. There was no door or window at the back of the treehouse, and she considered removing a board from the back wall so she could see in all directions. But she was over eighteen now. A legal adult. That meant if she got busted for trespassing or vandalism, she’d get arrested for real. She couldn’t afford to get locked up, not in some windowless cell where it’d be too easy to sleep.

“Can’t sleep, Mister Jones. If we sleep, we get weak. We can’t see them and we sure as shit can’t stop them.”

The stuffed animal was clearly a mouse. Blue fur. Cute button nose. Round ears. Big smile. A furry tail that clung to the body by just a few threads. It wasn’t meant to be a rat, but that’s how she thought of it. Mister Jones, her little buddy lab rat.

“They’ll come, no matter what. But if we sleep there will be no one to see them, and no one to stop them. They’ll plant their bad ideas in our dreams, trick us into thinking they’re nightmares instead of mental poison. That’s how come people are evil, right Jonesy? All those bad thoughts injected into our brains at night. They’re behind it all. They got me once, Jonesy, but never again, huh?”

Jonesy smiled.

The wee hours ticked by, each second building up the abilities inside of her, abilities anyone might have, if only they had the guts. The guts, and the knowledge of what sleeplessness would bring. Late at night, when everyone else was tucked in their beds and her and Jonesy were the only ones still awake, the night would pull back its thin black veil and the stilt walkers would wander out.

“I know you’re with me, Mister Jones,” she slurred.

Jonesy was a rat, not a mouse, because they didn’t do sleep deprivation studies on mice. They used rats. They used rats and they put them in buckets half-full of water with only a little platform in the middle so when the rat tried to fall asleep it would fall off the platform and into the water and have to climb back onto the platform and learn to stay awake, indefinitely. That’s who Jonesy was. A partner in her self-imposed insomnia.

So what if she was an adult who talked to stuffed animals and hid out in treehouses all night? She knew what she was doing. Knew it was important. Knew she could save them all.

If she could just stay awake.

“I need my own water bucket, Jonesy,” she said and petted the rat. Caffeine got her by for a while. But inevitably came the crash. She needed something more reliable. More long term. She needed discipline.

If she’d been disciplined before maybe things would be different.

She arched her back. Yawned. Twisted her torso around to the left and right, popping a few vertebrae on the second twist. Daybreak was just an hour or so away. They never came out during the day. All the real bad ideas come at night. She looked through the treehouse doorway, then the little window to the right, then to her—

Amber froze. All she could hear were muffled sounds as if heard through wads of cotton and a high-pitched violin note. Her heart thumped like hooves in a stampede. Her fingernails dug into Jonesy.

The stilt walker traipsed down her street, two blocks over. Its torso, the shape of a blood-filled wood tick, seemed to float above the rooftops, weightless on the thin vertical spider legs. Its clusters of glistening eyes were obsidian and almost invisible against its black body, but she saw how it turned and focused on each house it passed. It was perusing, like an old woman shopping for a purse, slow and patient for just the right one. Javelin-sized whiskers protruded from under its mouth like a beard as it sniffed each house until it found the one it liked.

A split-entry with new plastic siding.

And kid’s toys in the yard.

“Mister— Mister Jo— Mister Jones…” she searched for air to fill her lungs and the strength to push it out.

The stilt walker pivoted around the split-entry, sniffing and looming near an upstairs window. It extended a black penial tube from under its body. The tube snaked down between its legs and out to feel the plastic siding like a blind man without a cane. The tip of the tube groped around the edges and crevasses until it found a cracked bedroom window. Then it slipped inside to do its business.

Wakefulness

Oppression. Murder. Rape. War. Genocide. This is where those things came from. From the stilt walkers.

Like electricity applied to a machine, Amber’s nerves finally sparked. She scattered to her feet and out of the treehouse. The ladder, just two by fours nailed to the tree trunk, was half-rotted and half-swallowed by the growth of the trunk, but Amber knew which boards to put weight on and which ones to—

Her foot slipped on the dew-wet smooth wood. One hand lost grip of a board. Her other hand let go of Jonesy and flailed. Too late. She was suspended in a single moment that felt like zero gravity. A second ticked by. Then she hit and every square inch of air escaped her lungs. Stars exploded in her eyes. Mister Jonesy bounced off her chest and into the grass.

But she didn’t lose consciousness. Didn’t black out. Didn’t sleep.

Amber staggered up, dizzy, delirious, fighting to get air back into her lungs and panicked with the very real feeling that she might never breathe again. The fear didn’t subside so much as it was overwhelmed by her stronger need to accomplish the task at hand. A gate leading out the backyard was just across the lawn. She zombie-walked a few steps in its direction, her air coming back to her in short shallow gasps. Almost to the fence, she turned back.

“Huuuuup,” she sucked in air. “Jo— huuuuuuup. Jonesy. Huuuuuup.”

She ran back for the rat lying in the grass. As she picked him up, she got her first real breath. The stars faded from her vision.

“Come on, Jonesy. It’s not too late.”

Her feet shuffled and skipped through the wet grass to the gate. When she busted through, something about the action let her replenish her lungs, her strength, her vitality. Amber broke into a sprint, cutting across a street and through yards. Between houses, she saw the stilt walker again, looming outside of the cracked window. Its fleshy tube moved bulges down its length like a boa constrictor vomiting up a parade of mice.

“Hey!” she yelled at the stilt walker. Then, to anyone who might hear, “Wake up! It’s here! It’s poisoning you!”

She charged through the last pair of yards onto her street. She rounded the corner of the last house and jumped a curb-side rose bush. Her All Stars smacked against the blacktop and squeaked to a stop, one on either side of the yellow center line.

Amber shot out her palm, fingers splayed wide open, Jonesy held back close to her heart like a shield. Every ounce of wakefulness she’d saved up, every bit of strength left in her, she aimed it out through her palm towards the monster. She stood firm, her eyes crushed shut, teeth bared and clinched together, her lungs straining to pump air in rapid short breathes. Something glowed through her eyelids.

Brighter. Brighter. The wakefulness radiated out of her hand towards the stilt walker, warding it away from the house and the family inside. She was sure of it. Until she heard the screeching brakes of a car coming to run her down. The car lurched to a stop. She pried open an eye just a crack to see what she feared: the glow wasn’t coming from her, it was coming from a pair of damn headlights. The stilt-walker, hidden behind the glare of the lights had probably moved on to its next victim by now. She hadn’t created the glow, and she hadn’t stopped the monster.

“Hey, are you alright?” a man called from the car.

“Slept too much,” she mumbled, draining like a battery. “Have to save up more…”

She staggered, clutched Jonesy for support. Gravity went lopsided. Her upheld arm went limp. Her foot reached out for more stable terrain and failed to find it. Amber spilled down to the pavement and out of the shine of the two hi-beams. Jonesy bounced out of her hand. He landed butt down, facing her, the stitched on smile as permanent as his wakefulness.

“Damn it, Jonesy. We almost—“ A deep wheeze to pull in air. “—had him.”

Joe Prosit

Joe Prosit writes sci-fi, horror, and psycho fiction. He has been previously published in Chantwood Magazine, The No Sleep Podcast, and Aphotic Realm Magazine. He lives with his wife and kids in the Brainerd Lakes Area of northern Minnesota. If you’re an adept stalker, you can find him on one of the many lakes and rivers or lost deep inside the Great North Woods. Or you can just find him on the internet at JoeProsit.com or follow him on Twitter, @joeprosit.

Ongoing Submissions: Blood Orange

Payment: $15

blood orange is constantly accepting, reviewing, and publishing submissions. If you are unsure about what cards are still available, check out the card index or get in touch ⤏ with our editor. Right now, the plan is to publish one full tarot deck; if we get lots of community support for the project, we could potentially publish more editions.

Thank you so much for considering blood orange as a vessel for your work. We can’t wait to read your submissions!

GUIDELINES

  • blood orange publishes poetry and concrete/visual poetry. The only formatting requirement is that your piece should be able to fit on a tarot card, which is traditionally 2.75” x 4.75”. We love submissions in languages other than English, but as our editor only knows English and French, please include a translation of your piece if it is not in either of those languages.
  • Submissions are accepted via email ⤏. Please include your submission as an attachment, the name of the card you’re submitting for, a short third-person bio, and an author photo. For poetry, please submit as a word document. For concrete/visual poetry, please submit a .png file of your work. It is incredibly helpful if you include the words “blood orange submission” in your subject line. There will never be a reading fee for submissions.
  • blood orange aims to publish 79 cards by 79 different poets. As such, if you have received an acceptance, please do not submit more work at this time. If you have received a rejection, please wait two months before submitting new work. If you’ve looked through the card index and have an idea for an additional card for our deck, please email our editor ⤏ with your pitch!
  • We pay $15 per published card. That said, blood orange is a labour of love and our editor is paying all fees out of pocket, so if you have the means to accept less than $15, please indicate this in your submission email. We are working on securing funding for blood orange, as we believe strongly that poets should be paid for their labour and recognize that $15 is not the pay scale that we would like to be able to provide.
  • blood orange is committed to publishing radical and diverse poetry. We strongly encourage Indigenous folks, Black folks, racialized folks, transgender and nonbinary folks, Muslim and Jewish folks, disabled folks, poor folks, immigrants and refugees, queer folks, fat folks, and sex workers to submit here. If you identify as one or more of the above and would like to let us know, please mention it in your submission email. This disclosure is by no means required, and will only be used to help blood orange curate a tarot that highlights the work of poets who have been underrepresented and marginalized in literary communities.
  • blood orange is dedicated to being a safe and inclusive publisher of dynamic poetry. We will not accept racist, transphobic, xenophobic, queerphobic, fascist, or otherwise oppressive works, or works by abusive writers. If you have any questions or concerns about pieces or poets that have been published in blood orange, please do not hesitate to get in touch ⤏.

Via: Blood Orange.

Taking Submissions: Slay

Deadline: March 31st, 2020
Payment: .05 per word

Since 2010, Mocha Memoirs Press’s mission is to amplify marginalized voices in the areas of speculative fiction (science fiction, horror, and fantasy).

SLAY: Stories of the Vampire Noire will follow the steps of our previous published bestseller anthologies An Improbable Truth: The Paranormal Adventures of Sherlock Holmes and Black Magic Women: Terrifying Tales by Scary Sisters (A Bram Stoker nominee).

What we are looking for: Vampires have been around in the horror genre for centuries. We are looking to tell a different vampire story. Ones where they may sparkle, but it is a dark one. This call is seeking unpublished short stories that tell stories of the vampire noire, the black vampire. We want stories of vampire hunters, of anti-vampiric heroes/heroines, and more. If you can take the story out of westernized culture, we’d love to see those, too! We want stories that speak of inclusivity. So, if your vampire is disabled or suffers from an alignment, send those stories too. LGBTQ+ stories are also encouraged. To point, we want stories from the African diaspora.

If you do not follow the guidelines, your submission will be deleted unread. Seriously, read the guidelines. Follow them.
Upon results of a successful crowdfunding campaign, we will pay HWA pro-rate of .05 per word for publication for First World Rights.

Still interested? Here are the guidelines.
• Stories for this anthology must be original (no reprints or previously published material), no more than 5,000 words in length, and must satisfy the theme of the anthology, meaning the protagonist must from the African Diaspora. Remember, this entire anthology is dedicated to stories of the black vampire. They can be in space, superheroes, but they must be from the African Diaspora.
• Manuscripts should be in Shunn manuscript format, meaning double-spaced, 12pt font, standard margins on top, bottom and sides, and pages numbered. Please use Times New Roman font. The first page should include the Title of the story, Author’s name, address, and email, and Pseudonym if different from the author’s real name. Italics and bold should be in italics and bold.
• Attach the story in either .docx, .doc, and send it to mochamemoirspress AT gmail.com
• Subject: SLAY Submission: Title of Short story-Author Name
• Save your File as STORY TITLE-AUTHOR NAME

Here is our list of don’t:
• No revenge stories.
• No erotica.
• No Bestiality.
• No underage sex with minors, bestiality, or racist rants/racist storylines.

DEADLINE and TIMELINE:
• The deadline for submissions is March 31st, 2020.
• Decisions on stories should be completed by the end of July 2020.

Taking Submissions: Silk & Steel: An Adventure Anthology of Queer Ladies

Deadline: February 22nd, 2020
Payment: 8 cents per word

Silk & Steel: An Adventure Anthology of Queer Ladies
Edited by Janine A. Southard
Submissions due: February 22, 2020.

Princess and swordswoman. Scholar and mecha pilot. Warrior women… and the courtly ladies who love them.

The Silk and Steel anthology was initially inspired by artwork from Al Norton (see below). She’s put so much tension into these characters! Yet, among all that edginess and conflict, there are also romantic feelings… and a definite sense that both women have the upper hand.

We’re looking for stories of high adventure that feature one weapon-wielding woman and one woman whose strengths lie in softer skills, but who is just as powerful in her own right. You’re free to choose any setting – from historical to modern to wildly futuristic.

You can expect to share a Table of Contents with distinguished authors such as: Ellen Kushner, Aliette de Bodard, Amal El-Mohtar, Arkady Martine, Claire Bartlett, Django Wexler, Freya Marske, Jennifer Mace, JY Yang, K.A. Doore, Kelly Robson, Nibedita Sen, and Yoon Ha Lee.

Editor’s Note: I’m looking for all speculative genres except straight-up erotica or hard-core horror. (We’re aiming this anthology at general audiences, after all. Erotic and horror elements within your story’s context are definitely okay! But if they’re the thrust of the story, then you’ve gone off genre.) I think the idea lends itself well to swashbuckling romance and operatic comedy, but it’s really up to you.

Other Inclusions: Yes! I would love to see trans women, bi, pan, and ace characters.

Art by Al Norton
Art by Al Norton (and used with her permission)

How to submit: Send your story in .doc, .docx, or .rtf format to Janine A. Southard at [email protected]

Note about conflict: Yes, this is an f/f anthology, but that doesn’t mean your women need to be fighting against homophobia! While this is one option, it’s not the only one. Consider also having them fight for their countries, their loves, or their right to wash their cars on Wednesdays in flagrant disregard of their HOA’s rules. Silk and Steel is about romance and optimism, so moving on to the next big fight after homophobia will be a much easier sell.

Rights and compensation: Originals only, no reprints. We will purchase first publishing rights for inclusion in this anthology (ebook and print) and one year of exclusivity for 8 cents/word. Authors retain the rights to the individual stories; Cantina Publishing exercises rights to the anthology as a whole.

General Guidelines for Submissions:
We are currently only considering submissions for active calls.

Do send: Your story with your contact details, name (and pseudonym, if applicable), and word count on the first page of a .doc, .docx, or .rtf document. Please use italics instead of underlining. Cantina Publishing recommends using a really common workhorse font like Times New Roman or Calibri at whatever the default setting is for your word processor. (Font selections are subject to change before publication. Still, the submissions reader will remember you as “the jerk who sent something all in wingdings.” So we don’t recommend that particular level of creativity.) 3,000-7,000 words recommended.

Don’t send: Fanfic of any kind. (Unless specified by the call for submissions.) Grotesque horror. Anything over 10,000 words without querying first.

Via: Cantina Publishing.

Ten Tales of a Dark Tomorrow Blog Tour: Kevin Kuhn on Writing Short Stories

Short stories are hard. In less than 7,500 words or less, you have to set a scene or two, introduce characters, establish a plot (and maybe a bit of a theme), and find an ending that leaves a reader satisfied. In this post, I’m going to focus on character development in a short story.

Let’s start with some basics. First, this might be obvious, but limit your scenes and characters. You must strip down your plot to the bare necessity. What scenes are absolutely required to tell your story? How can I design my scene to have as few characters as possible? There is no room for information dumps about setting or character backstories. Start your story right in the middle of a key scene and use the action to give readers hints about the characters.

Here’s the real trick. Readers like to work! They like to make deductions, find connections, and fill in the blanks. It pulls them into the story and gets them invested. They need way less information than you might think to visualize characters and settings. However, you do need to give them something to work with – no white rooms (a scene where the setting is not described), or generic characters. Let me give an example:

The wrinkled, white-haired old man hooked his thumbs in the straps of his bib overalls.

It’s not exactly genius writing, but I’ll bet you have a mental image of this man already. You might even have a face associated with him, even through I only described his wrinkles. Just based on the facts that he’s old and wears bib overalls, you may have a voice associated with him.  Readers have thousands of mental images of various people in their heads. Often, they prefer to ‘pull up’ on of these mental images as the characters. The more detailed you are in your description, the less likely it is that they can use one of their own mental images. Save your descriptive writing to eloquently describe important scenery, or even better, exciting action.

You may have a huge, complex backstory about your character, that’s fine. It will help you stay true to their personality, motivation, and dialog. You don’t have to reveal most of that backstory, in fact, you shouldn’t. Think of it as an iceberg. You’re only showing a bit on the surface, but the reader will feel the support of everything below. Differentiate your characters through their actions and dialog. Never explain your character’s feelings or emotions through narration! That will remind the reader that it’s only a story and they just characters. You’ll lose the mental images in their head. Show it with their actions, reactions, and dialog. Make them consistent with their motives. Give them an easily recognized quirk or flaw that ties into the storyline. Maybe they have a fear of heights, or an obsessive love of chocolate, or maybe they like to show off a pretentious vocabulary. 

In summary, show your characters through their dialog and actions. Give the reader minimal, yet distinctive clues about their appearance. Distinguish them with their dialog and with flaws, quirks, or motives. In short story character development, less is more, but make the ‘less’ count!

 

Kevin Kuhn writes speculate fiction and is the author of an Amazon #1 Bestselling time travel novel. He has won multiple independent literary awards. He is a proud member of the Science Fiction and Fantasy Writers of America. Kevin lives in Eden Prairie, Minnesota with his wife and three children.

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I’m thrilled to welcome you to my stop on the blog tour for Ten Tales of a Dark Tomorrow by Kevin A. Kuhn! Read on for more details, and a chance to win a paperback copy of the book plus a $15 Amazon Gift Card!

Cover.jpg

Ten Tales of a Dark Tomorrow

Expected Publication Date: October 25, 2019

Genre: Speculative Fiction/ Sci-Fi

Ten speculative fiction stories inspired by the original Twilight Zone series, including cautionary tales, horror, science fiction, and more.

In the spirit of that iconic, timeless show, these mysterious and gripping narratives explore parallel worlds, faraway planets, dystopian societies, and unsettling reality.

• A toddler shifts through parallel worlds, changing into different versions of herself. What would a mother do for her daughter?
• A chef finds an alternate food source on a remote world. When the new chef arrives, will he be forced to reveal a horrific secret?
• A twelve-year-old Earth girl is randomly chosen to rule the galaxy. Why are galactic administrators so desperate to stop her?
• Humanity is on trial, annihilation at stake. Can an underdog alien lawyer save us?
• Time seems to stand still as a young boy bikes with his troubled friend. Is the friend causing this phenomenon—and what if he doesn’t stop it?

Explore space and time—and confront humanity’s deepest fears—with Ten Tales of a Dark Tomorrow.

Add to Goodreads

Excerpt

She says nothing, content to burrow into my chest. I look at the top of her head: thick blond hair, a line of pink scalp at her part. She’s wicked smart for her age, and I’m still trying to get used to that. The doctors have used words like gifted, genius, and prodigy. She plays piano pieces that most couldn’t master at any age. She can multiply three-digit numbers in her head instantly. She reads voraciously and beat me in chess the first time we played. People say she is a gift. I smile, but only I know what she is. She’s my child, but she isn’t—she’s a version, a duplicate.

Available Now

Amazon | Audible| Kobo | Nook

About the Author

B&W Kuhn

Kevin A. Kuhn is a proud member of Science Fiction & Fantasy Writers of America. His first novel, Do You Realize?, won five independent literary awards and spent time as a number one Amazon best seller in four countries. He is also a retired technology executive who currently teaches at a major business school. Kevin lives in Eden Prairie, Minnesota, with his wife, Melinda, and their five kids—three human children and two schnoodles.

Kevin A. Kuhn | Twitter | Facebook

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Win a print copy of the book AND a $15 Amazon Gift Card! Click the link below to enter!

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Blog Tour Schedule

December 9th

Reads & Reels (Spotlight) http://rrbooktours.com

Crossroad Reviews (Spotlight) http://www.crossroadreviews.com

Scarlett Readz & Runz (Review) https://scarlettreadzandrunz.com/

Breakeven Books (Spotlight) https://breakevenbooks.com

December 10th

Horror Tree (Guest Post) https://www.horrortree.com

Splashes into Books (Spotlight) http://splashesintobooks.wordpress.com

A Garden of Books (Review) http://agardenofbooks.com

December 11th

The Magic of Wor(l)ds (Guest Post) http://themagicofworlds.wordpress.com

Misty’s Book Space (Spotlight) http://mistysbookspace.wordpress.com

Didi Oviatt (Spotlight) https://didioviatt.wordpress.com

December 12th

Life’s a Novelty (Review) https://lifesanovelty.blogspot.com/

The Bookworm Drinketh (Review) http://thebookwormdrinketh.wordpress.com/

December 13th

Turning the Pages (Review) https://turningthepagesonline.wordpress.com

Port Jerricho (Review) http://www.aislynndmerricksson.com

Entertainingly Nerdy (Spotlight) https://www.entertaininglynerdy.com

I’m into Books (Spotlight) https://imintobooks.com

Rambling Mads (Spotlight) http://ramblingmads.com

MasterClass Presents… David Sedaris Teaches Storytelling and Humor

MasterClass has a new course out for creators that you might be interested in checking out – “David Sedaris Teaches Storytelling and Humor.” Now, many of you might be familiar with Sedaris though he isn’t a fiction writer. The very fact that he doesn’t pen fiction is exactly why you might be interested in this one. We all know that a major bonus to add creativity to our writing is to draw inspiration from genres that we don’t write in, and David’s unique and entertaining writing style could easily be a key source in helping hone your craft.

Here is what you can expect from the class:

With regular pieces in The New Yorker, national tours, and appearances on NPR’s This American Life, David Sedaris is one of the most recognizable essayists writing today. He’s known for his wit, weirdness, satire, and serious humor, and his collections of personal essays—Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames, and Let’s Explore Diabetes With Owls—each became immediate bestsellers. He’s also the author of a New York Times–bestselling fable collection and has twice had his work included in “The Best American Essays” anthologies.

So far, more than 10 million copies of his books are in print around the world, and he’s been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. Now the writer Entertainment Weekly calls the “preeminent humorist of his generation” teaches you his tools for writing humor and his approach to the art of personal storytelling.

In David’s MasterClass, learn to turn everyday observations into stories with meaning, craft personal essays that resonate from beginning to end, and incorporate humor that not only gets a laugh but also connects with readers on a deeper level. Join David backstage as he workshops and perfects his public readings and find inspiration in his approach to publishing and the writer’s life. Find stories and inspiration all around you, hone your humor writing, and embrace the power of your personal perspective.

In this online class, you’ll learn about:
• Fine-tuning your observational skills
• Turning observations into stories
• Perfecting your opening line
• Writing with meaning
• Connecting with readers and live audiences
• Writing about family and friends
• Turning vignettes and diary entries into stories
• Tools for writing humor
• Getting the most out of public readings
• Creating and titling collected essays

You can check out a preview of the course in the video below:

If you’re interested in learning more, head over to MasterClass today!

Brain Babies: T&A, or Tepid and Asinine

It has recently come to my attention that men are still, in damn near 2020, writing women as if they were a collection of erogenous zones and nothing else. Stop it.

Seriously, cut it out. This is sloppy, amateurish, inaccurate, and, frankly, insulting. Women, like men, are complex. They’re arrogant, shy, belligerent, kind, messy, obsessive, thoughtful, acidic, and every other damned character trait you can think of. They are not simply bouncing breasts and long, toned legs. They are not meat puppets in skirts.

Stop. Writing. Them. This. Way!

When a man writes about a woman’s breasts, attributing them with personality, or highlighting their physical characteristics over the course of an entire fucking paragraph, it’s like broadcasting to the reading world, “I have no idea what women are really like, because I’ve only ever observed them from a safe distance!”

Women are not mythological, magical beasts with parts wondrous and strange. I’m gonna let you in on a little secret. Ready? They’re human beings, just like you. They fart, and poop, and hiccup. They dream big and have crushing disappointments. They laugh, and cry, and hate and love, and feel inadequate. Just like men.

So, when you’re writing a woman as a character, try to remember that she’s a real person. Try to avoid focusing on her tits, on the way they strain against her shirt. No woman alive thinks about her own breasts (outside of sex play) unless it’s because her damn bra is cutting into her shoulders, like it does every damn day, and Jesus Christ, do these things really have to weigh this fucking much?

Another thing: most women, like most men, really do enjoy sex. But, you know what? Most of them also enjoy the lead-up. Not just foreplay (though that’s a ton of fun for everybody, if you’re doing it right); also, the romantic stuff. Kissing. Nuzzling. Slowly discovering someone’s body for the first time. Relishing the pleasing of a partner she knows intimately. If you’re going to write sex, remember, too, that there’s almost always something else going on. There are two (or more) people in the room. They have feelings, baggage maybe; they might be scared, hopeful, overwhelmed, or just insanely horny. People are complicated. Men are. Women too.

Try not to forget that. Women are complicated. Women have feelings. They have brains. They are people.

Nor just T&A. Not just bodies flouncing around for your amusement. And, you know what? This is a good thing to remember outside of just writing fiction, folks. Women are people. It’s not that difficult a concept.

So, the next time you’re writing a woman in a story, put yourself in her four-inch heels; try not to fall over, as you try to navigate her world, her feelings, her mind. And, once you’re there, write her like she deserves. As a real person: flawed; aching; hopeful; terrified; longing; wounded, etc.

Please. For pity’s sake.

 

Thanks for listening.

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