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Taking Submissions: khōréō July 2023 (Early Listing)

Submission Window: July 1st – 30th, 2023
Payment: 8 cents per word and $500 for custom cover art and $100 for cover art drawn from an artist’s existing portfolio.
Theme: Fantasy, sci-fi, horror, and any genre in between or around it, as long as there’s a speculative element.
Note: You must identify as an immigrant or member of a diaspora in the broadest definitions of the terms. This includes, but is not limited to, first- and second-generation immigrants, refugees, asylum seekers, undocumented migrants, persons who identify with one or more diaspora communities, persons who have been displaced or whose heritage has been erased due to colonialism/imperialism, and anyone whose heritage and history includes ‘here and elsewhere’.

khōréō is a quarterly publication of stories, essays, and art: fantasy, sci-fi, horror, and any genre in between or around it, as long as there’s a speculative element. We’re especially interested in writing and art that explore some aspect of migration, whether explicitly (themes of immigration, colonialism, etc.), metaphorically, or with a sly nod and a wink. Most importantly, we’re a new magazine and we’re still finding our identity: therefore, please don’t self-reject because you’re not sure if your work is a good fit. We won’t know until we see it, so please give us a chance to look!

See submission requirements & how to submit at the following pages:

Who can submit?

khōréō is dedicated to diversity and amplifying the voices of immigrant and diaspora authors and artists. We welcome, but do not require, a brief description of the author’s/artist’s identity in their cover letter.

We invite you to submit if you identify as an immigrant or member of a diaspora in the broadest definitions of the terms. This includes, but is not limited to, first- and second-generation immigrants, refugees, asylum seekers, undocumented migrants, persons who identify with one or more diaspora communities, persons who have been displaced or whose heritage has been erased due to colonialism/imperialism, and anyone whose heritage and history includes ‘here and elsewhere’. We especially encourage BIPOC creators who identify as the above to submit their work.

When reading submissions, we take in good faith that you identify as an immigrant or member of a diaspora as described above. If you still aren’t sure if you should submit, please email [email protected].

We kindly request individuals who do not identify as such to support the magazine by reading our stories, subscribing, and helping spread the word instead.

Submission Periods

Our next submission period will open at midnight Eastern time on January 1, 2021. We will close submissions at 11:59pm on January 31, 2021.

In our first year, we will have the following reading periods:

  • January 1-January 31
  • April 1-April 30
  • July 1-July 30
  • October 1-October 31

Via: khōréō.

The Measure of Sorrow Blog Tour: Time and the deep, black lake: resurrecting a story you’ve given up for dead

Time and the deep, black lake: resurrecting a story you’ve given up for dead

Have you ever written a story you loved so much but just couldn’t get to work? A stack of pages (whether real or metaphorical) you look upon with pangs of regret each time you slide open your (real or metaphorical) desk drawer—that drawer where all the other trunkers lay, forsaken? Do you ever take it out to reconsider with a kind of conflicted longing, as you might think back on a past lover—a lover with whom things were both electric and ill-fated—wishing it would either reveal itself in all its naked glory, or stop calling and let you get on with your life? 

Some stories are just like that. And though it may be painful, to set them free we have to let them go. (Let them go, yes—but never, not ever, throw them away.)

I wrote the first draft of the title novella in my short story collection, The Measure of Sorrow, close on ten years ago. I wrote it in a white heat of ideas piling on ideas, of puzzle pieces attracted one to another that just fit, of sustained inspiration that took me deep down, away from the original story seed, and into places I’d never explored before. It was exhilarating. I loved it. But it didn’t work.

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Taking Submissions: Mysterion July 2023 Window

Deadline: July 31st, 2023
Payment: 8 cents/word and 4 cents/word for reprints
Theme: Speculative stories–science fiction, fantasy, horror–with Christian themes, characters, or cosmology
Note: Reprints Welcome

We are looking for speculative stories–science fiction, fantasy, horror–with Christian themes, characters, or cosmology, and for artwork for this site.

Fiction Guidelines

Technical details

  • Stories can be up to 9000 words (thanks, Patreon supporters!). This is a hard limit–our submission system will enforce it.
  • We pay 8 cents/word for original stories (or original translations of stories that have not previously appeared in English), and 4 cents/word for reprints (thanks again, Patreon!).
    • Authors are paid once we’ve agreed on edits and signed a contract, prior to earliest publication (generally on our Patreon page).
  • We are seeking 6 months’ exclusive worldwide publication rights for original works (with exceptions for established Best of the Year anthologies), and non-exclusive worldwide print and electronic rights thereafter for both original works and reprints.
    • We want to publish your story online in our webzine and keep it there indefinitely.
    • We’re also acquiring the right to offer ebook versions of the stories we publish, as Patreon rewards or for purchase; and to publish a print and ebook anthology of all the stories that appeared in the webzine over a given 1- or 2-year period.
    • For original fiction, we want to be the only place publishing it for the first 6 months; after that, you’re welcome to publish it anywhere else in any format you like.
  • No multiple or simultaneous submissions.
    • If multiple writers co-write a story, we consider each distinct group of writers a different submitter. In other words, if two people co-write a story, and they submit the co-written story, and each of them also submits a story written on their own, that would not violate our no multiple submissions policy. Submitting two stories co-written by the same two people would violate our no multiple submissions policy.
  • Don’t resubmit a story we’ve rejected unless we request revisions.
  • We usually manage to respond to everyone within four months of the submission window’s closing. Feel free to query ([email protected]) if it’s been longer than four months since the end of the submission period.
  • Format requirements:
    • Stories must be double spaced, in 12-point Times New Roman or Courier font.
    • The story title, your byline, a word count, and contact information should appear on the first page, and your last name, story title, and page number should appear in the header information of all other pages.
    • If you want to make our lives easier, our preferred format is Times New Roman, italics for emphasis, one space after periods and colons, smart quotes, m-dashes instead of double hyphens, and first line of paragraph indented 0.5″ in Paragraph formatting instead of with the Tab key. But we aren’t that particular about any of this when evaluating your stories.
  • Stories should be submitted via the Moksha submissions system: https://mysterion.moksha.io/publication/mysterion.
  • Submit your stories in .doc, .docx, or .rtf format.
  • Your cover letter should contain a list of your three or four most prestigious publications (if any), and any pertinent biographical details: tell us if you’re an astronaut writing about space travel, but not if you’re an astronaut writing about the elf-dwarf war. Invert that if you’re an elf. If you’ve met us in person, feel free to mention it. Finally, let us know if the story is previously published and where it first appeared–even if it appeared on your blog or Twitter feed. Don’t try to summarize your story or explain why it’s a good fit for our publication (if it’s a good fit, we should be able to tell by reading it).

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10 Tips on How Not to Lose Your Mind While Self-Editing Your Book

10 Tips on How Not to Lose Your Mind While Self-Editing Your Book

Editing your own work can be an overwhelming and mind-boggling task. The words may seem to swirl on the page, and the initial spark that ignited your passion for writing can fade away amidst the frustration. 

However, it needn’t be like that.

With a wealth of tips and tools at your disposal, you can navigate the journey of self-editing while preserving your sanity and emerge with a finished book to be proud of. 

Let’s dive into 10 invaluable tips that will guide you through this challenging endeavor and help you stay on track when creating a polished masterpiece.

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Taking Submissions: Dark Decades – 6 Anthologies

Deadline: October 1st, 2023
Payment: Contributor’s Copies
Theme: Six calls set in different decades with different themes that all have 4 requirements that you can see below

Most people would agree that technical advancements have made our lives easier or, at the very least, more entertaining. But, what about the flip side? What horrors were unleashed for the sake of creation? What monsters emerged as technology evolved?

We invite you to travel back in time with us as we discover the dark side of six decades.

Get creative with the themes. Bring us thrills and chills. Just remember to adhere to the basic guidelines. We can’t wait to experience it.

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An Interview With Matt Micheli About Two Minutes with the Devil’

Do you want to play a game? Brave enough to take a risk? This one is for those who, despite the underlying dread, still dare to dabble with the darkness…Two Minutes with the Devil, the latest book from horror indie writer Matt Micheli takes us back to the 80s. When imagination ran rife, creativity coursed through our veins, and we never really knew if the legends were real…

Let’s talk to Matt to find out more about Two Minutes with the Devil.

“One part Stand by Me, one part Stranger Things, Two Minutes with the Devil is one helluva fun-yet-heartbreaking thriller, a throwback to when things were good… and evil.”

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Trembling With Fear 6-4-23

Hello, children of the dark. We’re now officially in the summer months, so how are you doing? Making the most of the good weather? I’m very much not as I’m still bundled up on the sofa with broken bones. It’s been really quite depressing, honestly; my mental health is taking a real dip. And then I was reminded that I committed, on a podcast, to have the first draft of my novel done by the end of the summer and that’s only three months away now and arrrghghgahsgsadg. Best get to work, eh?

How’s your WIP going? What are you working on? If it’s something witchy, you might want to check out the event I launched last week, looking at all things witches in fiction and non-fiction. Join us, won’t you? Follow my new thing over on Instagram at @societyofinkslingers

That should be enough to keep me occupied and off the couch, eh? So let’s dive in. 

This week’s short story is a gorgeously gothic seaside tale by Twelve House BooksScáth Beorh. This is followed by three delicious quick bites:

  • Addison Smith’s granny has some peculiar talents,
  • Melissa Ren watches everything, just out of sight, and 
  • Don Money learns why it pays to be nice to strangers.

And a few reminders before I let you go: 

  • We love a drabble. Please send them to us! 
  • We also love three drabbles, connected by some form of thread. We call these Unholy Trinities, and our specials editor Shalini Bethala would love to see some more in the inbox.
  • Ditto serials. Have you got a longer story that could logically be serialised into four parts? We have great need of these! Check out our submissions page for details, then send ‘em in to Shalini. Honestly, she’s lovely. She just has some super-dark reading proclivities.

Oh – and as a final word, I *think* I’ve caught up on all things TWF email now. But if you’re still waiting for word on something, please do get in touch and I’ll chase down an answer with great earnestness.

Over to you, Stuart.

Lauren McMenemy

Editor, Trembling With Fear

We have a draft completed of one of our two Trembling With Fear releases! The Specials Edition is still pretty far out but, progress my friends! I’m excited to be able to share any kind of progress with you. 🙂 (Side note: Like Lauren above, I have writing deadlines for completing drafts of novels/novellas this year. Mine are, thankfully, a bit further out.) 

Outside of that, not much to say. Still planning the server move. Still slammed with the day job and school. 2 Weeks out for my day job to calm down a bit so, fingers crossed I can make it! 

If you’d like to extend your support to the site, we’d be thrilled to welcome your contributions through Ko-Fi or Patreon. Your generosity keeps us fueled and fired up to bring you the very best.

Stuart Conover

Editor, Horror Tree

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Serial Saturday: Willingworth Farm, Letter Five by Mark Colbourne

  1. Serial Saturday: Willingworth Farm, Letter One by Mark Colbourne
  2. Serial Saturday: Willingworth Farm, Letter Two by Mark Colbourne
  3. Serial Saturday: Willingworth Farm, Letter Three by Mark Colbourne
  4. Serial Saturday: Willingworth Farm, Letter Four by Mark Colbourne
  5. Serial Saturday: Willingworth Farm, Letter Five by Mark Colbourne
  6. Serial Saturday: Willingworth Farm, Letter Six by Mark Colbourne
  7. Serial Saturday: Willingworth Farm, Letter Seven by Mark Colbourne
  8. Serial Saturday: Willingworth Farm, Letter Eight by Mark Colbourne

 

Willingworth Farm: Letter Five

 

June 6th

 

The past few days have proffered something of a fresh experience. My first single male has been hosted – and not, it has to be said, by design.

On Friday, Trevor arrived at my door. A little earlier than anticipated (if you’ll forgive me a moment of pedantry) and conspicuously alone. Somewhat taken aback and peering quizzically over his shoulder, I began to question whether my recollection of accepting a booking for a Trevor and Harriet had not simply been the imaging of a senior moment. Laughing heartily and pushing past me into the hallway, Trevor explained that Harriet had decided literally at the last moment not to accompany him on his personal pilgrimage to follow in Sebald’s footsteps. I hadn’t the faintest idea what the man was wittering on about.

So there we were, Trevor and myself – an unlikely couple to say the least. Each morning he would venture out with a little brown rucksack on his back and ankles bolstered by chunky walking boots. For the first time since commencing this usually enjoyable sideline, I felt as if someone was intruding in my home. Ridiculous, I know, as he was openly invited through a standard commercial agreement, but Trevor had a peculiar ability to set one ill at ease. He made constant jokes where humour was notable only by its absence and, in the deafening silence which invariably followed these egregious bon mots, would fill the void with the sound of his own laughter. This, I’m afraid, I can compare only to the honking of a riled goose. He also revelled in the irritating habit of turning up whenever one was least expecting him.

A for instance: on the second day of his stay I was mixing concrete in the barn. Now, the barn – as I had explicitly detailed during the induction and house tour through which my guests are meticulously guided upon their arrival – was absolutely, one hundred per cent off limits. Also, I had watched Trevor leave the farm right after breakfast. Supplemented by his fleece, a Thermos of Bovril and some self-made sandwiches unattractively wrapped in sweaty clingfilm, he had bidden me good morning with yet another inane quip: “I’m off to find out what the North Sea”. I had, quite naturally, anticipated that he would be gone for the remainder of the day and accordingly began to tackle the tasks I had planned. Trevor, however, was nothing if not full of surprises.

“And what are you up to in here?” His nasal whine even managed to overpower the motorised churn of the concrete mixer. I switched off the machine, failing to disguise my fluster.

“Trevor!” I barked. “What are you doing back? What are you doing in here?”

His initial announcement had been made from the doorway of the barn. Somehow, he seemed to translate my astonishment as a bizarre invitation to step across the threshold and pursue a more intimate discourse. “Well, I’ve had myself a good old morning in the fields. Only so much coast you can walk along, isn’t there? Thought I’d pop back here and see what my favourite landlord was up to.”

“I’ve a great deal to do, actually,” I seethed. “And I did tell you that the barn was private. There’s a lot of work going on in here.”  

“Oh yes, I can see that. You’re just about as busy as a bee, aren’t you?”

“And with all the tools and things, it’s not particularly safe.”

“No, I imagine it’s not. Not safe at all.”

A moment of rather uncomfortable silence passed. I was absolutely flabbergasted that the man wouldn’t seem to take the hint and leave.

“You’ve been getting a lot of phone calls,” he said, seemingly apropos of nothing. I begged his pardon and he continued. “I’ve heard you. There seems to be a lot of wrong numbers. People asking for a different farm. Asking for people who aren’t even here.”

“Yes. And what of it?” I waved my hands to dismiss the notion. “There must be a mix up somewhere. Lines get crossed. It happens in this part of the country. We’re not in the big city now, I’m afraid.”

“Oh, I’m well aware of that,” he said, somewhat gnomically, before commencing a study of my concreting technique with an intrigued eye. “You’re tucked away from everything here, aren’t you? All by yourself. All secluded.” 

And then, without a further word of elaboration, he span on his heels and returned to the farmhouse, leaving me alone with my concrete and thoughts.

Later, I was in the kitchen preparing to dine. Trevor had not enquired about an evening meal and I had no desire to extend an invitation. No, I was perfectly satisfied with my own company, thank you very much. Trevor, however, had other ideas. Intruding upon my supper, he crept into the room and took the seat opposite me. No excuse me; no do you mind. The man had the manners of a swine.

“That’s a good deal of work you’ve got going on in that barn,” he said, picking up precisely where our earlier conversation had fallen away, as if the time elapsed had been mere seconds rather than hours. The room was illuminated only by the lamp in the corner and the left hand side of his face fell beneath shadow. I asked what he meant. “The concreting, the digging… I imagine that you barely have a moment to yourself.”

I explained that repairs were required. Foundations. Reinforcements. Running a farm was a constant war of maintenance. 

“Harriet’s expecting me back home tomorrow,” he continued with a quite bizarre swerve of discourse.

“What do you mean by that?” I asked.

“Just that I’ll be missed. That’s all.” 

With that enigmatic declaration, Trevor rose from the table, tucked in his chair and climbed the stairs to his bedroom. In the subsequent silence, I became aware of the suddenly deafening sound of my own breathing. I sat and wondered exactly what on earth I was going to do with him. Trevor, oh Trevor… Precisely the sort of guest whose moment of checking out could not have arrived too soon, but what methods lay at the proprietor’s disposal to expedite that magnificent moment to the fore?