Ongoing Submissions: Historic Heroines

Payment: $25

Historic Heroines is a new destination for readers a destination for readers hungry for female focused literature or history viewed through a female centric lens, and writing for Historic Heroines can help you find an audience for your publications.

Short non-fiction articles, book reviews, essays guidelines:

  • Up to 1000 words.
  • Articles need to be well researched and list references.
  • While there is no contributor fee for shorter work published on our site, all work will be accompanied with a short bio, photo, and the author’s social media links in order to promote themselves and their work.
  • Articles featured on our website will promoted through social media and to our email list.
  • Short articles, book reviews, and essays will be edited before being published.

Short fiction story guidelines:

  • 1500-5000 words.
  • It can be about a real woman – famous or obscure.
  • It can be about a real or fictive woman participating/witnessing a real historical event or moment.
  • Writers will receive a $25 fee for their short story and agrees to give us the exclusive rights to publish and sell the work.
  • Short stories featured on our website will be promoted through social media and through our email list.
  • Writers will be given a dedicated page on our website to promote themselves and their heroines.
  • Short stories will be edited before being published on the site.

Submit articles as a Microsoft WORD attachment to the following address: [email protected] A response can be expected within three business days.

We are a new start up company and reserve the write to change these guidelines. We hope you understand.

Via: Historic Heroines.

Ongoing Submissions: parABnormal Magazine

Payment: $25.00 for original stories, $7.00 for reprints, $3 per poem, $20.00 for original articles, $6.00 for reprints. For reviews, we pay $7.00 for each
Note: Reprints Allowed but highly limited

animalistic past. None of these are so strong as the fight or flight response. However, there are times when we seem to be perfectly safe, completely at ease and comfortable, when that urge to run from something sneaks up on us. What causes these sensations? Is there something lurking in the darkness? Why is that man giving you the creeps, he’s not even looking at you? And yet, there is something odd. Something instinctual, something you know without fully understanding. We may have moved on, we may have forgotten and left behind those old stories and legends of beasts, of voracious monsters, dark spirits, vampires, and shapeshifters… But they have not forgotten or left us . . .

What We Want

The subject matter of parABnormal Magazine is, yes, the paranormal. For us, this includes ghosts, spectres, haunts, various whisperers, and so forth. It also includes shapeshifters, mythological creatures, and creatures from various folklores. If your story also has science fiction or fantasy elements, we regard that as a plus.

Please, no stories that involve excessive blood, gore, digestive tracts, and so forth. If you write a dark story, make sure it is spooky. Makes sure it is a story that should be read with all the lights on, with the reader looking over his or her shoulder while turning the pages.

However, we are not interested in zombie stories for this publication. No ghouls, no zombies.

Please bear in mind that all stories are always about people. The technologies those people employ are significant only in relation to people, to your characters. Tell us stories about people, not about gadgets.


Story Worms: Finding Your Tribe

We all know that vision of an author, that often romaticised one; alone in a panelled room, nothing but you and your words. The tap-tap-tap of the keyboard, and the thrum of ideas and inspiration. Your muse draped on a chaise longue in the corner, a wide window overlooking a beautiful garden. The place where literary magic happens without interruption.

Of course, we all know it’s not like that in reality. In fact, if it is, I already despise you. Leave us now; this post is not for you. What it is in reality is more ‘All work and no play makes Jack a dull boy’. I wonder how many of us can, honestly, raise our innocent little hand and claim that writing has never left us with murderous intentions.

Sure, we do have those days of beautious creative bounty. The days when we can’t write fast enough to keep up with the unhindered flow of genius. But, more often than not, it’s more a case of coffee, cake, crying, and the slow, inevitable descent into despair and, eventually, unrelenting madness. And my desk doesn’t have a garden view. It has the view of a dreary terraced street somewhere in central England.

One thing I’m sure we can all agree on is this; whether your view is picturesque or apocalyptic, the emotional journey of a writer is a turbulent one. There is the agony of self-doubt. The elation of shiny new ideas. The joy of good reviews, and the sting of bad ones. In any one moment, we can wildly swing from viewing ourselves as the next Dickens, to viewing ourselves as a toddler with a crayon. And it gets no better with fame, or fortune. Your window view may improve, but your inward one remains stubbornly similar.

It’s all too easy for writing to become a solitary endeavour. We can all too easily disappear into our fictional worlds, seeking companionship from our characters. Raising our heads back to reality only when we’re frightened by a sudden noise, or by our empty coffee cups. That cocoon is a cosy one.

Sometimes it feels like our own journey is unique. Not everyone around us understands the creative temperament. Not everyone around us can support us through it, or even put up with it. I pity my husband. It’s not always easy being married to a writer. I’m lucky that he’s always believed in me (moreso than I do in myself), not everyone is that fortunate.

For all his support, for all of his sympathy, he can’t empathise with my highs and lows. He hasn’t experienced them himself. I need my literary sanctuary with people who know exactly how I feel without any need to vocalise it. I need my tribe.

My tribe is amazing. They’re supportive, encouraging, generous with their advice, their experience, and their opinions. They fight the same demons, wrestle with the same unruly muses, bask in the same glories. Whenever I need it, someone will be there with an appropriate meme, a cat GIF, the right words to pull me out of my comfort zone, or a hand to hold through something that scares me.

We can talk about words, and tenses, and POV, and characterisation, and worldbuilding, and good pens, the smell of books, and cover design. We can use jargon words, laugh at our in-jokes. We can be ourselves without raised eyebrows. We can lift one another up, and we understand that we’re not competing. We can discuss mental health, and the future of our world, and the legacy we’ll leave. We can interrupt a conversation to jot down a story idea. We can get excited over the same nerdy things.

Some of them I have never met, and probably never will. Others, I’ve had coffee with, broken bread with, hugged. We’ve had write-ins, and word sprints, video chats, and email exchanges.

I need my tribe, and I hope that they know that. I also hope that they need me. That I’m not just an annoying leech of a tag-along that they tolerate out of sympathy. (I also know that they’ll understand that little paranoia.) Writing doesn’t need to be solitary. It can be a festival. A crowd. It can be a blanket fort with room for two, or ten, or fifty. I need people around me who understand me. I need my tribe.

Taking Submissions: Electric Spec May Issue 2019

Deadline: April 15th, 2019
Payment: $20 per story

Please don’t query us about your story submission. We don’t have the manpower to answer such queries. An editor will email you back as soon as possible with the decision about your story. This can take a few days, or, up to three months. We make every effort to get back to authors in a timely manner but we get a lot of submissions so sometimes it’s not possible.

A note on our editorial policy: before publication we may edit the story for length or readability. However, we always remain true to the spirit of the story.

Issues are published at the end of February, May, August, and November. We reserve the right to shift publication date slightly, as necessary.

We have reading periods for each issue, though we never close to submissions.

February closes January 15

May closes April 15

August closes July 15

November closes October 15

Please do not submit the same story more than once, and please submit only one story at a time.

We consider any story between 250 and 7000 words with speculative fiction elements. We prefer science fiction, fantasy, and the macabre, but we’re willing to push the limits of traditional forms of these genres.

We do not consider poetry, stories with over-the-top sex or violence, serials, novels, fan fiction, or non-fiction. We don’t accept multiple submissions; in other words, only submit one story at a time and wait for a response before submitting another. We accept simultaneous submissions as long as you let us know up front and tell us as soon as it’s accepted elsewhere. We do not publish reprints, including anything that has appeared on a website.

We pay $20 for each story we publish. We buy first-printing world exclusive rights for four months. Payment will be made shortly after publication using PayPal. We encourage our authors to establish a PayPal account if they don’t already have one.

We prefer to read submissions in traditional manuscript format. This means indented paragraphs instead of left justification, and Courier or Times New Roman font in 12 pt, double-spaced. Also, please include the title, your name, address, and word length on the first page of your story.

To submit your story to Electric Spec, e-mail it as an attachment in Rich Text Format (RTF) to submissions at electricspec (dot) com. Use the following subject line: SUBMISSION:Story Title by Author’s Name (Word Count). In the body of the e-mail, include writing credits, if any, and the word count of the story. With the proliferation of viruses on the Internet, we do not open attachments unaccompanied by a cover letter.

Because we are a quarterly magazine, it may take us up to three and a half months to make a final decision, but we will let you know if your story is being held for voting. Please note we do not send out messages upon receipt of stories.

If you want to withdraw a story from consideration, please e-mail us at submissions at electricspec (dot) com and include the word WITHDRAW in the subject line. If you have questions or comments, please e-mail us at our submissions address and include the word QUERY in the subject line.

Why Submit to Electric Spec?

At Electric Spec, we encourage authors to do their market research before submitting work. Electric Spec stands out from other markets because:

  • We pay for stories and artwork.
  • We don’t have slush readers. At least one of our editors looks at every story that comes in.
  • We’ve been around for over eleven years – and we’ve never missed an issue, deadline, or author payment.
  • We actually edit the stories we publish. Our experienced editors work with authors to make their stories the best they can possibly be. Many magazines out there don’t do that – and it shows.
  • While we do not acknowledge story receipt, we have a quick turn-around time regarding publication. We do not hold any stories longer than 135 days without contact. If you haven’t received an email with a ‘reject,’ ‘accept,’ or ‘hold-for-voting’ message something may have gone awry ==> you should resubmit.
  • We love authors because we’re authors, too. All of the editors are published speculative fiction authors.

Art Submission Guidelines

We are currently accepting art submissions for our issues.

Please do not submit the same artwork more than once.

Please submit artwork separately from stories.

We will consider any picture with a speculative fiction element for issue cover art. Look at previous covers to ascertain our tastes. We prefer energetic pieces that narrow the boundary between realism and fantastical, both in genre and style. Consider that our readers come to Electric Spec for stories; we want to see story portrayed by your imagery. Art may be re-sized to fit standard browsers; we will not crop or alter the piece without your permission.

No over-the-top sex or violence, or fan fiction characters or settings, please. Though we appreciate the form, we don’t use caricature or graphic novel style art for our covers.

We pay $20 for each piece of artwork we publish. We buy first-printing world exclusive rights for four months and non-exclusive rights thereafter. Please note this means we want art that has not been published elsewhere. Payment will be made shortly after publication using PayPal.

To submit your art to Electric Spec, e-mail it as an attachment to submissions at electricspec (dot) com. Use the following subject line: ART SUBMISSION: Title by Artist’s Name. We prefer standard electronic formats such as jpeg or gif files.

Unless you receive a note indicating otherwise, your work may be considered for any future issue. We have, rarely, commissioned original artwork for the cover; if we ask, please be honest about how fast you can work. We operate under tight deadlines for publication.

We respond to most submissions within a month. We do not send messages upon receipt of submisisons. Because we are a quarterly magazine, it may take us up to three months. For art work sometimes we consider submissions after the three months has passed, i.e. we consider art work for more than one issue. If we do not reject a piece, it is still under consideration. Of course, in the meantime, if you place it elsewhere, please let us know.

If you have questions or comments, please e-mail us at submissions at electricspec (dot) com.

Via: Electric Spec.

Taking Submissions: Alternative Apocalypses

Deadline: April 15th, 2019
Payment: 2 cents a word and royalties or a flat rate of $25

B Cubed Press is pleased to announce three new open calls for anthologies to be released in 2019.  Submissions open immediately and close on April 15, 2019.
Submissions should be in Word or RTF attachments, using SFWA manuscript format. Include your name and email on the document, e-mails and stories get separated, and that is never good.
Include “SUBMISSION” and the title of the anthology to which you are submitting in the email subject line.
Pay is 2 cents a word and royalties for stories. For very short fiction, poems, and nursery rhymes, we offer an option of a flat $25 to the writer. Payment is on publication.
Multiple and simultaneous submissions are okay. Reprints are allowed, but they are held to a higher standard.
Send your submission to [email protected].
Read on for details on individual stories.
Edited by Debora Godfrey and Bob Brown
Stories of endings, beginnings, and change. As always, a political bent doesn’t hurt but is not required.
The apocalypse can be big or small, personal or world-shattering.
Humor is always good. Satire is excellent.
We will include some good poetry and thoughtful essays if you have them. For stories we’re looking for 500 to 5,000 words.
We anticipate releasing at Worldcon in Dublin.

Taking Submissions: Creatures

March 4th, 2019
Payment: 500 to 1000 words (flash fiction): $5, 1000 to 3000 words (microfiction or short stories): $10, 3000 to 5000 words (short stories): $25, 7000 to 10,000 words (novelettes): $50

We are looking for short stories about any kind of creatures you want: animals, insects, arachnids (all giant or otherwise), dinosaurs, aliens, monsters, cryptids, legends, mythical, mythological, whatever strikes your fancy. We really want you to go outside of the usual box that we see in fiction. Sure, you can have classic vampires or aliens, werewolves or unicorns, but the story needs to be new and fresh, something that hasn’t been thought of before or hasn’t been worked with a lot. The story should fit in any of the the genres of fantasy, horror, mystery, and science-fiction.

The submission period is January 4 through March 4, 2019. Short stories should be 500 to 5000 words, no more. PLEASE DON’T ASK ABOUT MORE WORDS. This is due to bandwidth and limits on our website. (If you have a story you think will fit that is over the word limit, see if you can edit your story down to fit the word count.) All stories will be published electronically only both on our website and as Kindle anthologies on May 23, 2019.

We are also looking for novelettes. We will be picking ONE novelette as the final story for each genre anthology. Novelettes should be between 7000 and 10,000 words. Your novelette should be something that really catches us, perhaps that touches our hearts, horrifies us in a new way, has a profound vision of technology or the future, or  baffles us with a twist or shocking revelation.


500 to 1000 words (flash fiction): $5

1000 to 3000 words (microfiction or short stories): $10

3000 to 5000 words (short stories): $25

7000 to 10,000 words (novelettes): $50


We require 500 to 5000 words as a short story only or 7000 to 10,000 words as a novelette only. WORD COUNT IS FINAL. NO LONGER OR SHORTER STORIES WILL BE CONSIDERED AND WILL BE IMMEDIATELY REJECTED. PLEASE DON’T ASK ABOUT MORE WORDS. This is due to bandwidth limits on our website. (If you have a story that you think will fit that is over the word limit, see if you can edit your story down to fit the word count.)

We are NOT looking for poetry, audio files, fan fiction, supernatural romance, straight erotica, or excessive sex, gore and violence. Elements of romance, erotica, sex, gore and/or violence are okay, since obviously there’s going to be a bit of a mess if your creature eats anyone. Any stories with extreme elements will be noted as such for our readers. If you want to understand the types of story we publish, look to OUR LIBRARY for reference.

Multiple submissions are okay as long as they are in separate genres. You can submit to all four genres, one story each, if you would like. You may submit up to two stories to the same genre ONLY IF you have one short story and one novelette for consideration.

Please use standard manuscript formatting for your story. Click here for how to format your story for submission.

Email your submission as an attachment to [email protected] with the subject CREATURES SUBMISSION – AUTHOR NAME – GENRE TYPE – STORY TYPE. Example: your horror short story would be submitted as Creatures Submission – Edgar Allan Poe – Horror – Short Story.

As this is a short submission period, reprints are okay as long as the writer has legally received rights back to their story. Simultaneous submissions are also accepted.



Stories will be published as text only on the Tell-Tale Press website and in Kindle anthologies for sale for 99 cents on Amazon. These are the only formats they will be used for. Stories will remain online indefinitely.

Writers will retain all rights to their story and therefore can submit them to other publications or reprint them as they so desire.

Payment will be rendered via PayPal within 30 days of being published online or sooner. Please provide a valid email address for payment.

Via: Tell-Tale Press.

Trembling With Fear 01/13/2019

This week has seen me return to the wonderful world of work after a two-week break. It’s been difficult getting up in the dark but now I’m back into the swing of things it’s as if I’ve never been away. However, I am trying to plan my evenings more so I balance my own writing time with editing and other things more effectively (!!). This includes the allocation of Wednesday evenings to writing the editorial so if you want to send us any news, get it to me before then.

Our stories in TWF this week start with The Photograph by RJ Meldrum. A recent graduate takes time out, like many do to, to travel before settling down to the world of work. When in Poland, he spends the night in a village and has a dream, or what he thinks is a dream which takes him back to that place during 1940. Only by finding a certain photograph will he find the truth. In this story, Richard Meldrum has created a strong sense of before and after; the ruin of the modern day is in stark contrast to the joy and life of the past – before the atrocity. He has also turned this into a ghost story with a twist, instead of a spirit from the past haunting the present, is he the ghost of the present haunting the past?

Reality Check by Charlotte O’Farrell is a mash up of certain TV reality shows (which I avoid like the plague, although I can’t avoid the write-ups in the newspaper) and makes use of standard features of the show and a certain catchphrase to great, and literal, effect.

Reflection by Mathias Jansson invokes thoughts of demons with the Latin introduction to his story and the naming of his character as Doctor Marlowe (after the playwright who wrote the tale of Faustus and his pact with Lucifer). Told not to read the spell in front of a reflective screen, he spends ages in front of a computer screen (which is reflective) doing just that. The Latin, the naming and the mood, turns this into a good gothic drabble (regardless of computer) with a strong sense of the ominous.

The Cat by Gary Hazlewood invokes the oft-told story of how cats can sense death approaching. I have heard tales of a cat spending time with a patient who is about to die. What is different here is that the cat actually heralds death but not quite as you’d expect it. Cleverly done.

I’ve noticed a number of our contributors have been posting their first stories of success for 2019. Amongst these is Patrick Winters who has had multiple micro fictions accepted into the Tiny Tales anthologies (pub. Blood Song Books): six for Curses & Cauldrons, three for Blood & Bitemarks, and two for Death & Darkness. He has also had a short story accepted into B Cubed Press’ Alternative Apocalypses anthology. This is a brilliant start for the new writing year. I’ll post the link for these publications when they come out (Patrick – make sure you let me know).

Alyson Faye’s Trio of Terror – Supernatural Tales is now available as a paperback as well as the original ebook (which was published towards the end of last year). Having read this particular selection, I can confirm her position as a master of the creepy story.

In addition, you will see a variety of our contributors again gracing the pages of Sirens Call in their free December 2018 edition.

As briefly mentioned in last week’s editorial, horror review site Ginger Nuts of Horror is currently running an LGBTQ+ Horror Month. So far there have been articles, interviews, reviews and stories including Black Glass by James Bennett. Yes, it is a horror story but one which revolves around the loss of a partner. The sense of grief and rage and bewilderment suffered by the survivor simply fizzes out of the lines. The fact that it revolves around a gay couple is, to me, incidental; it is simply a wonderfully written and incredibly dark story about human suffering.

Jim McCleod, the brains behind Ginger Nuts of Horror gives his reasons for making January, LGBT1+ Horror Month in an interview here and at the end, you can find a list of recommended authors. Just to avoid my children’s monitoring of my TBR pile, I’ve sneaked in Psychovilleby Christopher Fowler onto my Kindle so they don’t see it. Why don’t you take a look at the list and try an author’s work or perhaps something from other writers featured in the ongoing posts this month.

How are my New Year’s Resolutions going? No wine or chocolate still. For how much longer – who knows.

Stephanie Ellis

Editor, Trembling With Fear

We are currently actively seeking guest posts for Women in Horror Month and if that is something you’d be looking to provide please reach out on our contact page.

We’re also starting to get scheduled out on serialized horror stories so if you have something which is a bit longer and can be broken up into ‘chapters’ that you think would be a good fit on the site please do reach out with it 🙂

‘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 Photograph

I stare at the framed photograph on my desk. A grainy black and white image. It shows a sea of faces, all staring directly at the camera. Everyone is smiling. The photograph is of a different time, a time of peace before the end of days. I stare at the picture, knowing every single person has been dead for nearly eighty years. All but one.


It happened in 1995. I was in Poland. I’d just graduated from university and I’d decided to see the world. It was week four of a six week trip around Europe. I was south of Łódź, walking in a rural idyll. I’d travelled through France, Belgium and Germany. The plan was to head through Romania, into Bulgaria and Greece, then head home.

I was on my own with no schedule. I had a tent and food. I stopped wherever and whenever I wanted. It was the freest I would ever be and I knew it. I appreciated every second.

I saw a jumble of fallen bricks, just off the road. Curious, I jumped a fence and headed over. It was a small village, or at least it had been. There were perhaps twenty ruined buildings in all. Dirt tracks ran through the center, then petered out. The bricks had scorch marks. There was almost nothing left, just a few jumbled piles of stone. Rotten timbers, blackened by fire, lay in a tumbled mess. Roof tiles were scattered around. There was no village name, no memorial, but I knew what it was, a stark reminder of what life was like for many Poles in the 1940s. The slaughter of the innocents.

I walked through the ruined village and found myself a campsite for the night in a nearby wood. I sat thinking about the village until it got dark, then I turned in.

I woke to music and laughter. I emerged from my tent, blinking. There were lights in the near distance. Intrigued, I headed over to see what was happening. The ruined village was full of light, music and people. The people were in the main square, standing around a large bonfire. They danced and clapped to a string quartet and an old man with an accordion. They paid no attention to me. I stood on the edge of those happy, clapping, dancing people and my heart was filled with joy. I felt their happiness and contentment.

I knew in my heart this couldn’t be real. The people wore old fashioned clothes, styles that belonged to last century. I could see the ruins of the village around them; I knew no one lived there anymore. I didn’t care, the music, the pure joy of the people swept me up. I felt tears coursing down my face.

A man in the crowd reached out to me. I danced and sang. It was a blur of joy. I remember someone with a camera, asking to take a photograph. A group of us, smiling stupidly, out of breath, posed.

Suddenly, the fire was extinguished and the music stopped. Darkness engulfed me. The next few moments were hell on earth. Have you ever had a dream where the vision isn’t clear? When it’s more like an impression of people and places, as if viewed through ice? This is what I experienced after the light left. There was the rumble of diesel engines. The tramp of hob-nailed boots, orders shouted in German. Doors slammed, women cried and children screamed. Shots rang out. My senses overwhelmed, I blacked out.

I woke at dawn, cold and stiff, lying in the village square. The place was silent, empty. I gathered my gear and moved on, thinking about hallucinations and nightmares.


I stare at the framed photograph on my desk. It took me years of searching through the archives to find it. After years of nightmares, I needed to know if my hallucination was simply imagination, or if there was more to it. There was only one way to do that; I had to see if the photograph, the one taken that night, existed. I couldn’t imagine I would ever find it, but I had to try. And so, I searched, spending precious time and money on what I hoped was a fool’s errand.

I found it in an archive in Warsaw. It sat in a dusty filing cabinet. I asked the curator if they knew anything about it. They did. The camera had somehow survived that night and had been rescued by a villager from the next town. A Red Army soldier, part of the army that drove the Germans from Poland, had looted the camera, hoping it would be worth something. After his discharge he’d developed the film, then sold the camera. The photographs had been found in his old army bag, long after his death. His family knew the story of where he found it, they guessed the photographs would have historical value. They were donated to the archive, as mute testimony to an atrocity.

I glance at the photograph, seeing my own face looking back at me from amongst the dead.

RJ Meldrum

R. J. Meldrum is an author and academic. Born in Scotland, he moved to Ontario, Canada in 2010. He has had stories published by Sirens Call Publications, Horrified Press, Trembling with Fear, Darkhouse Books, Smoking Pen Press and James Ward Kirk Fiction. He is an Affiliate Member of the Horror Writers Association.


Reality Check

“I just can’t eat any more bugs! I’m sorry!” sobbed the former popstar, eyes wide.

The audience jeered at her. Under the harsh glare of the studio lights, she couldn’t see their faces; they were just a formless, baying mass.

“Then you fail the task! Start the countdown!” shouted the host, barely containing his glee.

“Ten… nine…” the audience began.

Tears stung her eyes. Once the crowds had cheered for her.

“… two… one…”
They screamed the show’s title together: “You’re fired!”

Bullets riddled her body suddenly. She slumped backwards. The audience exploded with glee.

The credits began to roll.

Charlotte O'Farrell

Charlotte O’Farrell writes horror, sci-if, and all things weird and wonderful. She has stories in the Drabble, Paragraph Planet, Retreat West and Awkward Mermaid. Find her on Twitter @ChaOFarrell


Abyssus abyssum invocat in voce cataractarum tuarum.
Don’t read this ancient spell in front of a reflecting surface as a mirror, a pond or a shining metal piece. You never know what ancient evil you will awake, wrote my old friend in his last email. Dr Marlowe was a wise old man and expert in ancient occult magic. I miss him so much. His sudden death was a shock for me and the way he died was terrifying. I’m now sitting here alone, reading his email over and over again on my computer screen, trying to understand what went wrong.


Mathias Jansson

art critic, cultural journalist


The Cat

Hushed conversations around the nursing home focused on the cat. Was it a foreboding warning, the harbinger of death or a sentinel to the afterlife?

Mrs. Osborne was the fifth resident to pass away during the spring months.

The statuesque cat sat patiently overseeing proceedings through narrow, watchful eyes before strolling off down the corridor.

Anxious rheumatic eyes observed the feline.

A week later Mr. Johnson was purchased upright in his bed. He felt an unbreakable compulsion to stare as the ‘death cat’ sat preening itself inside his doorway.

Behind him the duty nurse tightened her grip on a pillow.

Gary Hazlewood

With two novels to his name and when not watching soccer Gary enjoys writing short horror tales. He lives a hectic family life outside of a small town in the north of England.

Taking Submissions: Glass & Gardens: Solarpunk Winters

Deadline: March 1st, 2019
Payment: $0.01 per word + contributor copy

Anthologist: Sarena Ulibarri
Open for Submissions: January 1 – March 1, 2019
Expected Publication: January 2020
Story Length: up to 8,000 words
Payment: $0.01 per word + contributor copy

Solarpunk is a type of eco-conscious science fiction that imagines an optimistic future founded on renewable energies. Often aiming for a balance of nature and technology, and always inclusive and diverse, solarpunk stories show the ways we have adapted to climate change, or the ways we overcome it.

For this anthology, I want to see solarpunk stories that take place in winter. That might mean working together to survive extreme blizzards, or feeling the heat in places that no longer see snow. Which renewable tech works best during long winter nights? How do solarpunk societies celebrate the winter holidays? Keep it planet-based (Earth or other), and optimistic. Solarpunk worlds aren’t necessarily utopias, but they definitely aren’t dystopias.

We’re a northern hemisphere publisher, but southern hemisphere winters are also welcome!

Need inspiration? Read New York 2140 by Kim Stanley Robinson, the Ecopunk! anthology, or Glass & Gardens: Solarpunk Summers. For more on what the anthologist is looking for, as well as some writing prompts, see Sarena’s blog, “Solarpunk Winters Writing Prompts.”

Submission Method: *After January 1, 2019,* Send your story as a .doc, .docx, or .rtf attachment to solarpunk[at]worldweaverpress[dot]com with Submission: [story title] in the subject line. Please include a brief cover letter, but DO NOT summarize your story in the cover letter. Submissions received before January 1st will be discarded.

Simultaneous submissions: Yes, you may submit your story to other markets before you hear back from us. Please let us know ASAP if someone else accepts it.

Multiple submissions: No, please only send us one story for consideration.

Via: World Weaver Press.

Video Refresh: Taking The Next Step

A recap of our article ‘Setting Self Doubt on Fire: Taking The Next Step’ by Nicole Simms. In this one, Simms is at it again giving some great insight on her writing journey. Here she is confronting the doubt many authors can have for pushing past short stories into longer works. How to tell if you’re ready and if you don’t think you can make the jump directly there are also some steps to put yourself on that path!

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This is a new format that we’re playing around with for articles, interviews, and potentially Trembling With Fear. Please let us know if this is something that you’d like to see more of!

You can read the full interview here:

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