HWA Mental Health Initiative BEING A “WEIRDO” by D.P. Wilson

I always wondered why I couldn’t think straight.

Then, when I hit sixty, I got myself a patient with ADHD. He described his affliction as being akin to watching two TV channels at once and trying to keep up with the plots and that struck a profound chord. The body of this article is simply a personal history which leads you back to this point, so why not skip to the Conclusion?

At primary school, my teachers had always called me a “dreamer” and I received many a scolding for simply not paying attention. But I was, as far as I could. My mind was on many other things at the same time. 

Academically, I was always near the top of the class even though the effort it took to study was indescribably superhuman. I did this for my parents, who were pretty much my world. And that’s another thing; I was raised an only child and more or less a shut-in. Mummy and Daddy didn’t believe in letting their little darling rub shoulders with the hoi-polloi, so I had no one with whom to compare my feelings and experiences.

Crucially, it also meant that the normal process of socialization did not take place in my brain and that’s like language; if it hasn’t happened by a certain age, it never will. That part of the brain never develops.

I made it through high school by means of an effort I would struggle to find words to describe while being the “weird kid” who was bullied until he grew big enough to kick the sand right back in their faces.

University life was qualitatively easier although focussing enough to study was still a near impossibility. Having obtained my first degree (psychology!), I dropped out of the mainstream and bummed around France and Italy for a couple of years, then settled in the country, doing physical labour for a wage. I had hoped that the solitude would calm my raging mind. It didn’t.

My second degree was in medicine and I got used to the pain of 120-hour weeks trying to keep my mind on what it was supposed to be studying. I went on to run three clinical practices, teach in college, supervise in the teaching-clinics and act as an expert witness in court.

With the subject of this article in mind, it should have been a big, red hint when I grew bored with this life and decided to move to the Isle of Skye, where I bought myself a restaurant and applied the culinary skills I had learned in France and Italy. 

Thanks mainly to my wife, Ann, it was a success but here’s the point:

During this whole time, ever since I began studying for my first degree, I was self-medicating with alcohol. Vast amounts of alcohol. Every day. Looking back, I see that I was what is now termed a high-functioning alcoholic. For decades. It was the only thing that gave my churning mind some respite.

I got on top of that in my fifties by a simple act of will and, as I sobered up over the following decade, a number of things became clear;

1) I was mildly dyslexic. 

In my school years, dyslexic people didn’t have a problem; they were just “stupid.”

2) I had never achieved socialisation.

This meant that I responded just like a sociopath; by mimicking others.

3) I had an “artistic temperament.”

Whether or not one has any degree of talent, “artistic” individuals feel things far more profoundly than the average and are therefore prone to depression. I was raised in a society where depression didn’t exist. You simply “pulled yourself together” and got on with it.

4) There was still something wrong with my thinking.

My ADHD patient was the trigger for a revelation. 

Naturally, when I was younger, ADHD didn’t exist. Certain individuals were merely “disruptive” or “dreamers” and frequently wound up in the prison system and I could certainly understand why. From my own experience, it wasn’t like watching two TV channels at once; it was like watching four, while someone was playing loud and intriguing music next door.

My mind would thrash itself to pieces on the myriad tiny details of some problem and have them all lined up and standing to attention in seconds, while completely ignoring a major and obvious flaw in the solution.

There are also major elements of imperative instant gratification, as well as an obsessive-compulsive component.

Following our conversation, I decided to do some research and it took no more than thirty minutes to make a self-diagnosis of ADHD. Diagnosing or treating oneself or one’s family is never a good idea however, even if the solution seems obvious; it is quite simply far too subjective in ways that are completely invisible. I was therefore a good boy and consulted a psychiatrist in order to have my diagnosis confirmed. It was. And, to my almost-homicidal irritation, she asked me two questions;

“Why didn’t you see someone earlier?” And;

“There is some effective medication for ADHD these days. Would you like me to prescribe some?”

So, at the age of sixty, with life-long ADHD, dyslexia, depression, alcohol problems and loss of social skills, having been a successful medical consultant and a well-known chef and restaurateur, as well as an author and broadcaster, I was now faced with a young and fashionable head-shrinker criticizing my lack of awareness and offering me some Ritalin!

CONCLUSION

I sometimes wonder, if you are “artistic” in any mode, are you almost bound to have had some kind of mental health issue? In fact, I often wonder if “being a horror writer” could be classed as an issue in itself.

My advice from sixty-three years of unnecessary but rewarding struggle is simple and threefold:

1) TALK about it!

2) See a professional sooner, rather than later.

3) In my personal experience, which is not unique, I have found that writing fiction of any kind is an even more effective way than alcohol, to calm the churning tumult of a disturbed mind and don’t let anyone tell you different! It requires a combination of linear and creative thinking as well as a kind of meditative concentration that excludes distraction.

I am calmer and healthier (both mentally and physically) for it.

Of course, “Why horror?” is a different question altogether. Perhaps we’re all just a bunch of “weirdos”!


 

DP Wilson is a Scottish author and broadcaster who has been, at various times in his life, a food bum, a medical consultant, a lecturer, and a well-known chef and restaurateur. He has written for many years, primarily for his own psychiatric self-defence. His short stories have been longlisted as well as shortlisted for the Crowvus Scottish Horror Prize, published in the anthology; “Seasonal Spectres,” and are broadcast regularly on radio. He has also been published in the prestigious; The Horror Zine magazine.

He lives on the mystical Isle of Skye with his wife Ann and son Finn. Send wine.

HWA Mental Health Initiative : 13 REASONS WHY HORROR SHOULD PUT ON A HAPPY FACE by Nzondi 

 

(An Author’s Responsibility to Mental Health Awareness)

In Heath Ledger’s Oscar-winning performance in his portrayal of Batman’s most notorious villain in The Dark Knight, he said, “As you know, madness is like gravity … all it takes is a little push.”

The film, the actor, and real-life, orchestrated a cacophony that sends a chill up my spine to this very day. When I used to run the ScHoFan Critique Group in the Greater Los Angeles Writers Society, I remember a time when I introduced a story with a suicide narrative. It was then that I learned how using the wrong language could trigger a negative response. I never wrote that story, becoming aware that reinforcing certain stereotypes of people with mental illnesses was dangerous and could cause real-life discrimination and worse, harm. There have actually been novels, which I will not name out of sensitivity to the subject, that led to a copycat effect that increased by more than three hundred and thirteen percent after one of those novels was published. That is a stunning number. In this article, I’d like to discuss if horror writers should start exploring how to develop characters with severe mental illnesses in a fair and more accurate representation, how writing certain stories actually increase copycat responses, and what stories are out there in the horror genres that chose to tread different paths of presenting mental illness.

Does the DC film, Joker: Put On A Happy Face, portray the character as a psychopath or a mentally ill person? The film creates empathy for the character and portrays him as a person that has a difficult time dealing with an array of physical abuse. Since the supervillain first appeared in the debut issue of the comic book, Batman (April 25, 1940), the joker was introduced as a psychopathic prankster with a warped sense of humor. Forensic psychiatrist, Vasilis K. Ponzios, M.D. says, “There is still a misunderstanding to the portrayal of insanity in the Batman films and movies and what it means to be legally insane.” He goes on to say, “For instance, the Joker has been hospitalized at the Elizabeth Arkham Asylum for the Criminally Insane, even though, in real life he probably wouldn’t qualify … Just because a behavior is aberrant … it does not mean the behavior is a result of mental illness.”

The Diagnostic and Statistical Manual of Mental Disorders does not list insanity as a disorder. According to one article I read, hallucinations, delusions and incoherent speech, which are traits of a severe mental disorder, are not usually the characteristics of a master criminal. Dr. Hannibal Lecter is the main character we all hate to love in a series of suspense novels by Thomas Harris. A brilliant and sophisticated forensic psychiatrist in the day, and a cannibalistic serial killer by night. To my knowledge, the portrayal of that character was not diagnosed with a mental illness. However, iconic horror characters in the Halloween and Friday the Thirteenth franchises play with the idea that psychopathic serial killers are mentally ill. Eventually, both characters are committed to mental institutions. In real life, these characters would be in a penitentiary, and/or on death row.

So how can horror authors take a fresh approach to presenting attitudes of mental health issues? First, before I get into the next subject area of mental health, let me start by explaining exactly what I mean by the copycat effect, or perhaps, a better usage would be suicide contagion. Suicide contagion is the characteristics of media portrayals of suicide, and characteristics of individual adolescents that increase the rate of suicide, and that magnitude of the increase is related to the amount, duration and prominence of coverage. A news program may not be as negatively effective as a New York Times bestseller or a hit TV show on the matter. Dr. Madelyn Gould, PhD, professor of epidemiology in psychiatry at Columbia University, believes that indirect influence occurs in both real and fictional characters portrayed in the media.

One fresh approach, that was bold and controversial, was taken by creators of the Netflix series, 13 Reasons Why, based on the eponymous novel by Jay Asher. According to the CDC, suicide is now the second most common cause of death among teens and young adults, accounting for nearly 6,000 deaths annually in individuals between the ages of 15 and 24. I, for one, do not want to write a novel that participates in any mental health contagion. Therefore, seeing how 13 Reasons Why approached the issue is intriguing to me for my own writing. For one, the executive producers, Selena Gomez and writer/producer, Brian Yorkey, have gone above and beyond in showing their sincere motivations behind adapting the novel for Netflix. There’s a genuine sense of empathy to the subject matter. In the video portion of the teenlineonline website, the creator of the non-profit organization realized that when teens have a problem, they are most likely to go to other teens than to their parents. She set up a hotline using teen volunteers to help troubled teenagers address their problems. 13 Reasons Why resonated with teens because it was a story brilliantly told by young actors.

13 Reasons Why tackled issues like suicide and bullying, head on, yet still presented it in a way that got popular culture talking about these issues, which was the most important asset to helping real-life youths to open up a dialogue with teachers, parents and health professionals. In writing this blog/essay, I learned many things to do and not to do when writing about mental health issues. I recommend that all authors researching these do’s and don’ts before writing about any characters that have mental health issues. As a horror writer, however, you may feel like your story is not there to preach, teach or raise awareness. However, given the fact that there have been documented accounts of novels affecting an increase rate of contagion, wouldn’t you want your literary themes to reflect a more accurate perspective?

I remember hearing at a literary awards show recently, that early science fiction pulp writers didn’t care about whether their science was accurate or not, but today, that is frowned upon in the science fiction community. I remember reading a David Gerrold interview done by JG Faherty of the Horror Writers Association that elaborated with more insightful perspective. In the interview, David explained how the internet is both a curse and a blessing. Like any science fiction writer, he loved to do research, of course for accuracy of his stories. He was discussing research regarding characters in his Chtorr series. The more he thought about the ecology of his species, the more it grew: what was the interrelationships of the species, of plants and animals, the apex predators. I remember he once did a workshop at a GLAWS special speaker’s event and asked, “How are you going to write about a character taking a spaceship to start a colony on the moon if you don’t know about the speed of ships? How far and how long it will take? How will the humans survive on the moon? How do they account for water? Is it shipped to the moon?”

Since the popularity of novels like Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde (Longmans, Green & Co., January 1886), there have been many literary works that play with the concepts of how the human mind’s battle between good and evil interplay between characters with dissociative identity disorder. As brilliant a performance that James McAvoy gave in the psychological horror thriller directed by M. Knight Shyamalan’s Split (and Glass), I challenge you to go back and revisit whether or not the protagonist struggling through twenty-three personalities presented a true depiction of a man with a “split personality”.

Look, I get it. I’ve worked as a stand-in on a show called How To Get Away With Murder, and I have had many conversations with attorneys who say that the show is too sensational, especially in the courtroom. I’m like, “Thank goodness, the creator of the show doesn’t depend on you to write their episodes, we’d be bored out of our minds!” They are the same people who can’t suspend belief long enough to get past the fact that when Bruce Banner changes into the Hulk, he’s always in those purple short-pants, instead of being nude. We are writing fiction, aren’t we? We create a way for the reader to escape reality and travel to worlds of fantasy, science fiction, dystopias and horror. Still, when writing about characters and stories involving mental health, shouldn’t we ask questions that breathe life into the “who, what, when and how” of the tropes we use?

***

So how do we get it right?

Here are some facts to know about mental illness by Kathleen S. Allen, an author who also has a Doctor of Nursing Practice degree which is a clinical doctorate:

Having depression doesn’t mean your character can’t still have fun or laugh or be social.

A character who has bipolar disorder may have manic episodes or they may not. Bipolar Disorder has a spectrum of symptoms from moderate depression to severe.

No one who has Dissociative Identity Disorder (formerly called split personality) would kill someone when they are in one of their alter personality states unless the core personality would also kill. 

Your character would not have amnesia after killing someone. The disorder is rare and some medical professionals don’t believe it exists at all, so be careful using it.

Talking about suicide does not mean your character will push the person into attempting suicide. It was already on their minds.

Your characters don’t stop hearing voices after taking anti-psychotic medication, immediately. 

Sometimes, they won’t stop at all. It may take weeks to months for the meds to work. If they are having a psychotic episode, it would be difficult, if not impossible, to function in their daily lives by going to school, work, maintaining a romantic relationship, or maintaining any relationship. Psychotic patients are not dangerous. Are there exceptions? Yes. But as a general rule, they aren’t.

In conclusion, one of my biggest takeaways from researching horror writing for Mental Health Awareness Month was some of the things we shouldn’t do. 

For example, unless your character is politically incorrect, don’t describe suicide as an “epidemic”, “skyrocketing” or other exaggerated terms. 

Use words such as “higher rates” or “rising”. Don’t describe suicide as “Without warning” or “inexplicable”. 

Do convey that the character exhibited warning signs. 

Don’t refer to suicide as “unsuccessful” or “failed attempt”, or report it as though it was a crime. Do say, “died by suicide” “killed him/herself”, and instead of presenting the act like a crime, write about suicide in your story as a public health issue. 

Hopefully, as horror authors, we can continue to scare the jeebies out of our readers but at the same time, create a story which accurately exhibits archetypes of mentally ill characters, whether they are mad scientists, psychopathic serial killers or characters with dissociative identity disorders that assume their mother’s personality.

***

PRELIMINARY QUESTIONS: 

According to Dr. Michael Stone, a forensic psychiatrist at Columbia University, most mass murderers belong to a category of the disgruntled and aggrieved, whose anger and intentions wax and wane over time, eventually curdling into violence in the wake of some perceived humiliation. Does the DC film, Joker: Put On A Happy Face, portray the character as a psychopath or a mentally ill person?

According to the CDC, suicide is now the second most common cause of death among teens and young adults, accounting for nearly 6,000 deaths annually in individuals between the ages of 15 and 24, what are some things that an author can do to stay as far away as possible to contributing to a suicide contagion?

According to one article I read, hallucinations, delusions and incoherent speech, which are traits of a severe mental disorder, are not usually the characteristics of a master criminal, what are some examples in horror where a story got it right and some where it got it wrong?

Forensic psychiatrist, Vasilis K. Ponzios, M.D. says, “There is still a misunderstanding to the portrayal of insanity in the Batman films and movies and what it means to be legally insane, did the writers and filmmakers get it right in their portrayal of the Riddler in the latest DC release, The Batman?

Dr. Michael Stone, a forensic psychiatrist at Columbia University who maintains a database of 350 mass killers going back more than a century says that about one in five mass murderers are likely psychotic or delusional and the figure for the general public is closer to 1 percent, but the rest of these murderers do not have any severe, diagnosable disorder. 

Analyzing his database, Dr. Stone has concluded that about 65 percent of mass killers exhibited no evidence of a severe mental disorder; 22 percent likely had psychosis, the delusional thinking and hallucinations that characterize schizophrenia, or sometimes accompany mania and severe depression. (The remainder likely had depressive or antisocial traits.)

Many of these killers faced “long-term stress,” like trouble at school or keeping a job, failure in business, or disabling physical injuries from, say, a car accident. Substance abuse was also common: More than 40 percent had problems with alcohol, marijuana or other drugs. He says that the majority of people on this spectrum are not deeply ill; rather, they are injustice collectors. They are prone to perceive insults and failures as cumulative, and often to blame them on one person or one group. 

So the question I present to you and anyone else in the audience who has worked in the field of mental health is will mental health treatment make a difference for Jason Voorhees, Freddy Krueger, or Leatherface? Why or why not?

“In almost all high-end mass killings, the perpetrator’s thinking evolves,” said Kevin Cameron, executive director of the Canadian Center for Threat Assessment and Trauma Response. “They have a passing thought. They think about it more, they fantasize, they slowly build a justification. They prepare, and then when the right set of circumstances comes along, it unleashes the rage.”

This evolution proceeds rationally and logically, at least in the murderer’s mind. The unthinkable becomes thinkable, then inevitable. 

Would a hitman be considered a serial killer? If so, does the horror genre or fictional world, in general, portray these characters as having severe mental illnesses? Why or why not?


ABOUT THE AUTHOR:

Nzondi (Ace Antonio Hall) is an American horror author and is the first African-American to win a Bram Stoker in a novel category. His novel Oware Mosaic won the Bram Stoker Award for Superior Achievement in Young Adult fiction; one of the most prestigious awards given to horror writers in the world. His latest novel, Lipstick Asylum, won Book of the Year and Thriller of the Year awards from SW Book Reviews. It also received a 5-star rating from Readers’ Favorite.

 Among his many short stories that were published in anthologies and print magazines, Hall’s short story, “Raising Mary: Frankenstein”, was nominated for the 2016 horror story of the year for the 19th Annual Editors and Preditors Readers Poll. Additionally, three of his short stories were on the Horror Writers Association Reading list for the 2017 Bram Stoker Awards.

 A former Director of Education for NYC schools and the Sylvan Learning Center, the award-winning educator earned a BFA from Long Island University.

HWA Mental Health Initiative : FINDING YOUR NORTH STAR by Robert P. Ottone

The first time someone told me that my father was “always with me” was at his wake. He was in his casket in the center of the room and just looked … done. Not done in the sense that he was deceased, specifically, but exhausted. As though he was just so over it all. It was a look I’d seen a hundred times and it was fitting in a way that that was the face the mortician was able to put on him. Or maybe that was the face he had on when he passed? I don’t really know. I wasn’t there. 

I had heard that phrase about thirty or so times over the course of his wake, which spanned two days and was attended by hundreds of people. My dad had a lot of friends. People who looked at him like a father figure in many ways. As a teacher, he seemed to “collect strays” in a sense. Kids who grew up in his school district who may or may not have had a fatherly role model-type figure in their lives. I got to know them, too. They became almost like adopted siblings, I guess.

But once Dad was gone, not only had I lost my North Star, the one who guided and supported and nurtured me my entire life (with my mother, of course), something else hit me. The weight of how much he meant to people. This was a new feeling or thought or realization that began to weigh on me. Not only did I lose my father, I lost my closest confidante, my head cheerleader and so much more. We shared a name. In a lot of ways, once he was gone, part of me was as well. Robert Ottone had left the planet and yet, Robert Ottone remained. 

“He’s always with you.” Yes, I know. I have his name.

“He’s always with you.” Yes, thank you. That’s not as comforting as you think it is.

“He’s always with you.” Yes, please stop. There is nothing in those words that matters to me because he’s not.

He’s not with me. I am alone. With his first name. With his last name. Different middle initials, but that’s about it. I’ve even begun to look like him. My hair is graying rapidly. I’ve become forced to wear glasses. I doze off while watching TV on the couch. I laugh at all the same reruns of all the same shows that I used to watch with him. All with him.

Knowing that he was “always with me” had created a burden that had grown to be altogether too much. My wife (then-girlfriend) had been so helpful. So supportive and loving that any time I erupted into tears, she was there to talk me off the ledge. Then, during a panic attack brought on by losing a teaching job that I worked really hard to get, I knew I needed more than just the sweetness of my wife to help me.

I felt the burden of my dad being with me and I needed to lighten the load. I began to read again. I started with the works of Brian Evenson, then segued into John Langan and it all became clear. In reading these two masters, I knew that to help lighten the load of my dad always being with me, I needed to put him on the page. There had to be a way to find a new North Star. A new guiding light or purpose other than my previous one: to make my dad happy and proud.

I needed to transmute my guilt, my sadness, my heartache and anger into something more. Something that was therapeutic and helpful while also allowing me to return to a passion that had been my first love since childhood: writing.

It was in the pages of Sefira & Other Betrayals and Song for the Unraveling of the World that I found a way back. I began to do my best to mimic Langan and Evenson. I will always do my best to mimic Langan and Evenson. Their work, Langan’s in particular, was my North Star back to creativity. In that creativity, I found therapy. The creation of narrative, the crafting of character. It was all there. It was everything I was looking for and more. So very much more.

I discovered others. Lee Murray. James Chambers. Linda Addison. Paul Tremblay. Who were these people? How did falling down the rabbit hole of horror fiction turn me into a fan of so many when all I grew up on was my mother’s devotion to Stephen King and Dean Koontz? 

In reading these authors’ works, I found connective tissue to myself I never thought possible. I had connected to writing in the past, sure, but not on such a level as this. I was reading poetry. I was reading about zombie speed dating. I was reading about a possibly-possessed young girl. I was reading about a young woman from a broken home whisked off by a flying nightmare. 

I began therapy. Through writing and the unburdening of my emotions, I found a therapist during a particularly dark moment when I sat in the parking lot of my best friend’s condo and truly could not pull myself from the depths that I reached out and found help. My therapist, Bill, has given me strategies that I never imagined possible. Strategies to cope. Strategies to understand where my negative emotions come from. He doesn’t pretend to have the answers, instead, he helps me to find the answers. Even if it takes time, I know that my therapist is a light to guide me. Another North Star, in a sense.

My dad is always with me. But he’s in my work now, too. He’s beside me in the classroom when I teach. He’s in the pages of my writing, whether it’s silly, dark, or vicious. He’s in my laughter. Instead of in my mind, lurking in my consciousness, he’s in my heart. He’s in my voice. 

So yeah. He’s always with me. And through writing, through the work of a passionate and caring therapist, I’m alright with that now.


Robert P. Ottone is the author of the horror collection HER INFERNAL NAME & OTHER NIGHTMARES (an honorable mention in THE BEST HORROR OF THE YEAR VOLUME 13) as well as the young adult dystopian-cosmic horror trilogy THE RISE.

His short stories have appeared in various anthologies as well as online. He’s also the publisher and owner of Spooky House Press.

Robert is also an English as a New Language teacher, as well as a teacher of English Language Arts. He can be found online at SpookyHousePress.com or on Twitter/Instagram (@RobertOttone). He delights in the creepy and views bagels solely as a cream cheese delivery device.

HWA Mental Health Initiative : GIVE THEM A PEN AND PUT THEM TO WORK By Ronald J. Murray

Make your demons work for you instead of against you. This is a phrase that I have carried with me for years, and one that’s never exonerated me from the responsibility of confronting my issues directly. Rather, it catalyzed my ability to allow the hardships of life and mind to inspire creation, to find enjoyment even while in the dark.

The writer is no stranger to suffering. I’m no different than any other. Throughout the year of 2019, I was writing Cries to Kill the Corpse Flower, a product of my realization and confrontation of my yet undiagnosed CPTSD and the resultant havoc it wreaked in my life at that time. The cathartic experience of taking my struggles and forcing them into the dark imagery of horror poetry allowed me to find an unshakeable sense of accomplishment, a shining pride in my talent, and to see a way to still cling to an appreciation for life.

Complex PostTraumatic Stress Disorder is linked to multiple traumatic events and is defined as a developmental trauma disorder. Though there are rare instances where the disorder can be developed during adulthood, it’s more often linked to traumatic childhood experiences. Its symptoms are like PTSD in that its sufferer will re-experience traumatic events, avoid traumatic reminders, and maintain hypervigilance against perceived threats in every avenue of life. However, it differs in that it affects emotional dysregulation, causes a development of a distorted sense of self, and can lead to disturbances in relationships. It often mimics Borderline Personality Disorder, and, in my case especially, can be misdiagnosed as such.

This darkness of course followed me into the next year, and it sought vengeance. During a time when so many, including myself, were learning to navigate the difficult struggles of the pandemic and its terrors, I saw the world crashing around me in the form of my first major loss: a decade-long unhealthy partnership came to an explosive close. Blessing in disguise as it was, I found myself suddenly without the home I’d known for years and having to learn to live without a person who’d been there for so long. I was only at the beginning of my journey in facing and healing my previous emotional afflictions, and this needed event exacerbated my symptoms to a degree I’d never experienced.

Lost Letters to a Lover’s Carcass was born through painful labor. Employing my demons, I wrote this collection to help me process this hardship and everything that led to it. More importantly, it reminded me of something almost lost: myself. My drive, my talent, and my lust for creation and its act kept me tethered to this planet and its bountiful, beautiful one-time chance at life. Without me, there is no art to create or, for me, to even perceive and interpret. Without me, there are no experiences and the healthy translation of them into narrative and verse.

But creating art from a place of suffering can paint the process as something that needs suffering to flourish. This is untrue, and a pitfall I’ve been able to avoid with the help of perspective. I’ve seen this misconception among some budding writers that may romanticize the clichéd tortured artist.

While the intermingling of internal and external hardship can be appreciated in this medium and enjoyment can even be found through it for the creative, it is not necessary to create more suffering for the sake of the written word, or to wear it as a writing badge of honor. Because without the appreciation and care for the self, creation can become a chore, or worse, a whirlwind of unhealthy self-criticism and a frustrated pile of unfinished projects.

CPTSD may likely follow me to my far-away death, but I will always find ways to stalk it in its own shadows. I will use it, crush it, and subvert it to find exactly what I need to tell my stories. And through my victories, I’ll bask in the sunlight of the lines and stories and characters that I write, which remind me of who I am: an intelligent, empathetic, and passionate creator.

None of this is meant to invalidate the struggles of others. I can only write from my own experiences and hope that they inspire hope and open the gates to new perspectives. The experiences of others are muddy and complex, and faltering along the path is to be expected. But I’d like to challenge my fellow Horror Writers to continue your therapy, eat your three-square meals, drink your water, be mindful and take time to enjoy the moment. And, lastly, let your work be the light switch on your wall that drives your ghosts back to their graves.


 

Ronald J. Murray is a writer of speculative fiction and poetry living in Pittsburgh, Pennsylvania. His published work includes his two dark poetry collections, Cries to Kill the Corpse Flower, which appeared on the 2020 Bram Stoker Awards® Preliminary Ballot and was nominated for an Elgin Award, and Lost Letters to a Lover’s Carcass, from the JournalStone imprint, Bizarro Pulp Press. His short fiction and poetry has appeared in Space and Time Magazine, The Horror Writers Association’s Poetry Showcase Volume VIII, on The Wicked Library Podcast, in Bon Appetit: Stories and Recipes for Human Consumption, and Lustcraftian Horrors: Erotic Stories Inspired by H.P. Lovecraft, and more. He is an Active Member of the Horror Writers Association and an Active Member of the Church of Satan.

HWA Mental Health Initiative : Out of the Darkness: A Conversation with Lee Murray and Dave Jeffery

Lee Murray:

I write horror. I also suffer from anxiety, and sporadically from depression. Most of the time, I’ve managed to keep this to myself, but, in recent years, I’ve tried to be more open with friends and family about my mental health. The interesting thing is, in doing that I learned that a lot of my horror colleagues are also pacing to and from at the ramparts checking for danger or engaged in all-out battles with kaiju of epic proportions. Was it time to open a discussion about horror writing and mental health? I consulted my friend, Forever Man author, and psychologist Brian Matthews, who agreed that a discussion was timely, and with his help we put together a panel for 2018 StokerCon, Providence which we called Writing From a Dark Place. We were able to enlist some incredible panelists too, including Brian Kirk, Leslie Klinger, James Arthur Anderson, and Eric J. Guignard. The conference committee welcomed the proposal, and the resulting panel conversation was frank, informative, and warming. Then, some months after the convention, I shamelessly used the panel discussion as the basis of an essay, which was later published in Victoria University Press’ Headlands anthology, along with 33 other New Zealand writers with their own personal stories of anxiety. The Headlands project has led to an upcoming hui (gathering) to bring the writers together for further discussion and a possible documentary on the topic. It seems when you open a conversation about mental health and lift it out of the darkness, a lot of good things can result. For that reason, I welcome this new initiative by the HWA to support Mental Health Awareness. I’m excited (and a little anxious) to contribute to the blog series and to an ongoing conversation about horror writing and mental health.

Dave Jeffery: 

I have worked as a mental health professional in the UK’s National Health Service (NHS) for 35 years. I have been a writer of dark and obscure fiction for considerably longer, writing my first horror novella at the age of 13. The novella was poor, but my experience of working with those who endure mental illness over the years has been nothing short of amazing. It is an honour to work with those who endure mental health issues on a day to day basis, they are the brave and mighty, they know true suffering and they have fought for light in the darkness. I know this because I have seen it, holding the hands of troubled souls, witnessed the tears and the trauma. It leaves a person humbled beyond words. 

In his 1964 publication, Madness and Civilization French philosopher Michel Foucault writes, “Mental illness has its reality and its value only in a society that recognizes it as such.” In other words, how we define mental illness as a society reflects how we ultimately treat it. There is truth in that those with severe mental illness are marginalised, the stigma associated with acts and behaviours making more of an impression on how they are viewed rather than on what these people endure. As a mental health professional and a horror writer I have a duty to readdress the balance and ensure the social stereotype of ‘lunatics’ and ‘maniacs’ are challenged from the beginning. Nothing puts me off a book quicker than the thoughtless misrepresentation of mental illness. 

Lee Murray: 

Thanks so much for agreeing to chat with me, Dave. I’m looking forward to hearing your perspective as a mental health professional and a horror writer. 

Naomi Arnold, my editor in Headlands says, “Clinic anxiety is a chronic crushing panic. Sometimes you can function fine, with a faint residual fluttering and a few deep breaths,” She writes. “Other times, it grows until it takes over your mind, your gut, your heart, your breath, your limbs, and everything in your life until your entire being feels reduced to the nub of your earliest brain. The one that pumps adrenaline through your system, puts everything on red alert, shuts down all your body systems and makes every cell scream.” 

I waited until I was 50 for a diagnosis of anxiety. “Oh and by the way, you have depression, too,” the doctor said. 

When I tell them, most people can’t believe it. “But you’re so bubbly and outgoing,” they say. “So smiley.”

It’s true, I do try to be cheery. But it strikes me that a person’s mental health isn’t always evident from their demeanour, and sometimes those who we least expect are suffering the darkest demons.

After the Writing from a Dark Place panel, panelist Brian Kirk wrote to me, and what he said interested me because it’s something I’ve noticed too. He said: “I’ve always found it curious that, in general, horror authors are some of the friendliest and most optimistic people I know. Whereas comedians are typically morose and depressive.” Would you agree with that comment?

Dave Jeffery:

My experience of the horror writing community is indeed one of warmth and inclusion, and an almost overzealous need to help others. I often wonder if there is a compensatory element in that writers are, by nature, insecure entities and perhaps coming to the aid of others has a basis in the desire to create climates in which they, too, feel safe. In their study of personality types, Ando, Claridge and Clarke (2014) concluded that comedians have traits not dissimilar to those who suffer psychosis, so I would certainly agree that comedians overall tend to be somewhat distant in real life. 

Lee Murray:

Kirk also says, The basic commonality I see between works of profoundly troubled people is an extreme kind of sensitivity. A brutally insightful look into our basic human condition.” If what Kirk says is true and people with mental illness have an ‘extreme sensitivity’ and ‘insight’ into the human condition, do you agree that horror writers who suffer from mental illness, make better writers? After all, many of our best-loved horror icons, past and present, are known to have struggled with mental illness—writers like Sylvia Plath, Stephen King, Ann Rice, and Mary Shelley.

Dave Jeffery:

I’m comfortable with the view that those who are ‘in tune’ with the darker side of the human condition can make better sense of how to translate that onto the page. There does need to be balance, of course. My view is that one-sided worldview, for example: the terrible actions of one person or one group of people somehow defining humanity, makes for a dull, cliched narrative, no matter what the intention of the writer. The links between mental illness and creativity has been long established, so I’m not surprised by Kirk’s view on this perspective and would support it wholeheartedly.

Horror and mental illness are effective bed-fellows. Poe’s The Tell-Tale Heart is a classic example of how this can be used to incredible effect as the narrator questions his own sanity following his heinous act of murder, and the guilt this generates. Robert Louis Stephenson’s The Strange Case of Dr. Jekyll and Mr. Hyde is a less subtle take on the dualities of man and the consequences of wanton action. This concept of two sides to a personality has plagued public perceptions of schizophrenia for centuries. This cannot be laid at Stephenson’s feet as the book is of a time where the renaissance of modern-day psychiatry was a few years away. Do you have any favourite examples of where horror and mental illness have been used effectively? 

Lee Murray:

I was afraid you were going to ask me that. Let’s start with Hamlet, given that I spent my high school years quoting Lady Macbeth’s ‘Out, out damned spot’ soliloquy whenever I washed my hands in someone’s hearing. Other fiction titles addressing mental illness that resonated for me while growing up include Madge Piercy’s classic A Woman on the Edge of Time, The Madness of a Seduced Woman by Susan Stromberg Schaffer, and The Bone People, by New Zealand’s Booker-prize winner, Keri Hulme. More recently, I could add The Drowning Girl by last year’s StokerCon guest of honour, Caitlin R McKiernan and there’s Mark Matthew’s grueling anthology Garden of Fiends with its stellar line-up of authors writing addiction-inspired stories. Your own novella Bad Vision effectively addresses how the system fails sufferers when a man faced with a debilitating mental illness is unable to find support from his doctors, his community and even his wife. And there is Kirk’s We Are Monsters, which won him a Bram Stoker-nomination for First Novel. The book examines two doctors’ approaches to a schizophrenia: one, Drexler, who uses his patients as guinea pigs for his experimental drug treatments, and the other, Alpert, who advocates for therapy. As the story unfolds, a serial killer named Crosby becomes the test subject for Drexler’s latest treatment, but something goes wrong: the medicine alters Crosby’s mind, dragging him, and everyone with him, into a parallel plane where they are forced to face their demons. If we’re talking about translating the darker side of the human condition onto the page, then Kirk has definitely achieved that. 

I’m going to stop there, and let you jump in with a couple of favourites because so many of our horror colleagues are doing excellent work addressing mental illness in their fiction that this could become a very long list.

Dave Jeffery:

Gosh, there are so many to cite, outside of those I’ve mentioned earlier. If I’m looking at recent examples, I would have to say Gary McMahon’s excellent What They Hear in the Dark which focuses on the cost of terrible loss. I also add King’s novel, Pet Sematary, Richard Farren Barbers’s novella, Closer Still and James Everington’s Trying to Be So Quiet as wonderful stories that capture grief and its impact on the psyche. One that certainly lingers in the memory is Phil Sloman’s Becoming David which is a subtle and brilliantly executed exploration of the descent into madness. 

Lee Murray:

For anyone who would like to read more widely, I’ve found an excellent summary of more than 250 mainstream titles featuring mental illness (non-fiction and fiction) on the Bookscrolling website. The page also includes 22 other sources listing mental health and illness titles. 

Dave Jeffery: 

As highlighted in my introduction, the stigma of mental illness is an ongoing issue in society. For someone who works in the mental health field, the frustration when inroads in challenging these issues are swept away by negative, inflammatory media stories is beyond description. Yes, some people have committed terrible acts of violence when they have been in the throes of psychosis, but statistically the mentally ill are more likely to be the victims of crime. It is my view that those with extreme forms of mental illness have become a soft target for society’s ills. When someone commits heinous crimes, they are often labelled ‘insane’ or ‘crazy’ when it has more to do with deficits in their personality or behavioural programming. Perhaps they are just bad people. Many atrocities have been undertaken by governments all over the world and throughout history, after all. These constructs became the motivation for writing Finding Jericho and has been, if it hasn’t come across already, a passion of mine for most of my working life. 

Lee Murray:

I agree the stigma surrounding mental illness is perhaps the most significant barrier to getting support to people in need. As an example, for several years I sat on the committee of our local Alzheimer’s Society, providing community support to the families of sufferers. At that time, the region had two part-time field officers and a growing number of clients. With growing demand, the committee discussed the possibility of purchasing a vehicle, which the field officers would share and which we would brand with the Alzheimer’s Society logos to improve community awareness, another of our stated goals. The field officers were against the idea, preferring to use their private vehicles despite personal cost to themselves. We wouldn’t understand it. Field Officer  ‘Anna’ explained: “As it is, several of my clients have asked that I not park in the same street, and to please come to the back door when visiting, so that the neighbours don’t see.” The field officers were concerned that an Alzheimer’s-branded vehicle would mean clients would refuse valuable help, for fear of friends and neighbours finding out they were suffering from a mental illness. Even the words used to describe mental illness have stigma attached, our local field officers using the less offensive term ‘memory loss’, rather than Alzheimer’s or dementia, when speaking with clients and their families. It’s clear, the stigma of mental illness is a monster in itself.

Dave Jeffery: 

The associations between horrific acts of violence and mental illness in genre media can be exacerbated when such misguided links are assumed in horror fiction. As a horror writer, do you think we have a responsibility to temper this view when we write our narratives? 

Lee Murray:

I think we have a responsibility to write with authenticity. My Writing From a Dark Place panellist, Eric J. Guignard, is of the same mind. He says writers should: “create empathy with real life sufferers by sharing authentic experiences by way of storytelling”. To do that I believe we need to write complex rounded ‘real’ characters, including characters with mental illnesses. And if we also show the missed opportunities for help, those pivotal moments for connection that might have averted those acts of violence, then perhaps we would also see opportunities to affect change. 

I guess that gives us an altruistic reason to write horror, doesn’t it? 

Something interesting I learned recently is that while New Zealand’s Māori and Pasifika population currently have the country’s the highest rates of mental illness and suicide, a study conducted in the 1940s showed that, by contrast, Māori had no discernible incidence of mental illness at that time. Mental illness is a new phenomenon in Māori communities and is largely a product of the pressures of our modern society, arising because the traditional support networks provided by family and community have been broken down.

Baker (1988) reports: “Society had this fear of contamination from mental disease and also a massive denial that it even existed. These concepts were alien to Māori people whose whānau (family) members suffering from trauma were always included within the whanau (family), hapū (subtribe), iwi (tribal) boundaries and given special status.”

I think we have a lot to learn from the traditional Māori approach of inclusiveness and care when dealing with mental health issues.

Dave Jeffery: 

I would agree with your viewpoint. There is certainly a recovery-based ideology prevalent in Baker’s description of Māori culture, and this can be seen in Western values throughout the history. For example, in 1796, Quaker William Tuke set up The Retreat, a facility built in the city of York, UK that was to become the cornerstone of a philosophy of what was called The Moral Treatment. The programme involved giving patients purpose, including them in their decision-making and giving them a meaningful life through the sanctity of work. These are key tenets that we see in the recovery paradigm that is so fundamental to mental healthcare in the 21st Century. Community and inclusion are essential to the concept of reducing stigma. With celebrities using their high profile to share their experiences of mental health issues, I have to say we’ve come a long way, but it is nowhere near enough. 

Lee Murray:

Whether or not it is therapeutic, writing has been known to save people. 

Janet Frame is one of New Zealand’s most iconic writers of dark fiction and the subject of Jane Campion’s 1990 film An Angel at My Table. Almost all of Janet Frame’s work, including her debut novel Owls Do Cry (1957), addresses mental illness and is thought to have been drawn from her own experience. After a suicide attempt, Frame spent eight years in mental hospitals and received 200 electroshock treatments. She was about to undergo a lobotomy, but the New Zealand Society of Authors sent a letter advising the hospital that she had recently won a major literary prize, and instead she was released.

Later, a panel of psychiatrists determined that she didn’t have schizophrenia, a fact which Frame resented, as she wrote in her third autobiography: “Oh why had they robbed me of my schizophrenia, which had been the answer to all my misgivings about myself?”

It introduces a chicken and the egg aspect to the horror-mental health debate, doesn’t it? Which comes first, the horror writer who suffers mental illness, writers who suffer mental illness who are then drawn to dark themes? Why exactly do we choose horror over happier more light-hearted themes, anyway? As a mental health practitioner and a horror writer yourself, do you consider dark themes are therapeutic in any way?

Dave Jeffery:

 I think if done with integrity and skill then, yes, it can be therapeutic. I say with the caveat of recovery, of course. If people relate to the experiences of characters then it reinforces the concept that they are not experiencing these things in isolation, that social context is has given them common ground through the characters. Where it becomes less helpful is where the narrative is delivered in a clumsy way by those who prefer to shock, reinforcing those ever-present societal views of the salivating lunatic who kills anyone they see, a human monster terrorising the innocent. My advice to those who are planning on writing about mental illness in horror fiction is to treat it with the sensitivity as they would gender and race issues. That way you will take the time to consider what the pitfalls are and ultimately write something interesting and, above all, authentic. 


Lee Murray and Dave Jeffery are current co-chairs of the HWA Wellness Committee.

Lee Murray is an author, editor, screenwriter, and poet from Aotearoa New Zealand. A USA Today Bestselling author, double Bram Stoker Award® and Shirley Jackson Award winner, her work includes military thriller series, the Taine McKenna Adventures, supernatural crime-noir trilogy The Path of Ra (with Dan Rabarts), and short fiction collection, Grotesque: Monster Stories. Lee is the editor of nineteen volumes of dark fiction, among them Black Cranes: Tales of Unquiet Women (with Geneve Flynn). Other works include non-fiction title Mark My Words: Read the Submission Guidelines and Other Self-editing Tips with Angela Yuriko Smith, and several books for children. Her short stories and poems have appeared in venues such as Weird Tales, Space and Time, and Grimdark Magazine. Lee is co-founder of Young NZ Writers and of the Wright-Murray Residency for Speculative Fiction Writers, an HWA Mentor of the Year, NZSA Honorary Literary Fellow, and a Grimshaw Sargeson Fellow. Read more at https://www.leemurray.info/

Dave Jeffery is the author of 17 novels, two collections, and numerous short stories. His Necropolis Rising series (Severed Press) and yeti adventure Frostbite (Severed Press) have both featured on the Amazon #1 bestseller list. He regularly contributes both articles and short stories for the prestigious genre publication, Phantasmagoria Magazine. His YA work features the Beatrice Beecham supernatural mystery series (Crystal Lake Publishing & Crossroad Press). Jeffery is also the creator of the critically acclaimed A Quiet Apocalypse series (Demain Publishing). His contemporary mental health novel Finding Jericho is currently being optioned as a TV miniseries. 

Jeffery is a member of the Society of Authors and actively involved in the Horror Writers Association where he is a mentor on the HWA Mentorship Scheme, and co-chair of the HWA Wellness Committee. He is contactable through his website: http://www.davejefferyauthor.com

References:

Ando, V., Claridge, G. & Clarke, A. (2014) ‘Psychotic traits in comedians ’. The British Journal of Psychiatry.  204(5)

Baker, R. (1988), ‘Kia Koutou’ IN Walsh, C. & Johnson, S. (eds.), Psych Nurses, 88, Wellington, p.40.

Beaglehole, E., Beaglehole, P., (1947), Some Modern Māori, New Zealand Council for Educational Research, Whitcombe and Tombs Ltd, Auckland.

Foucault, M. (1967) Madness & Civilization. Routledge, London. 

Arnold, N. (ed.) (2018) Headlands: New Stories of Anxiety. Victoria University Press, Wellington.

Tuke, W. (1813) Description of the Retreat. Alexander: York.

 

 

Book Review: MAELSTROMS – COLLECTED DARK FICTION ABOUT THE SEA

A review by Renata Pavrey

I love anthologies for the bite-sized stories they provide to read on the go, and also for introducing the reader to a range of writers and writing styles within a compact collection. Maelstroms from Shacklebound Books piqued my interest for its genre and theme of dark fantasy and horror set around the sea. Edited by Eric Fomley, the compilation features an assortment of short stories by twenty-three writers, each one wonderful in its own way.

From mermaids to pirates, haunted castles and dangerous storms, sea creatures and suspicious amphibians, witches and queens, Maelstroms presents a plethora of tales about watery graves. I particularly liked how the authors dissected the narrow theme and explored the depths of their dark imaginations. Each story is so different from the next one, even though they’re all about the same topic. Kudos to editor Eric Fomley for his spectacular selection for this collection.

Some authors like Dorian Sinnott, Taylor Rae, and Dawn Vogel I was already familiar with from their work in other books. The anthology introduced me to new, stellar writers like Ai Jiang, Dennis Mombauer, Addison Smith, and Jenna Hanchey. A few stories that stood out for me were Dangers of the Deep, A Bad Day at Sea, Until There Were None, The Island of Masks, No King Will Come for You, The Ocean’s Choice, Grow, and The Kingfishers Come at Dawn, although I loved all of them – Maelstroms is a very well written and put together collection.

Some quotes:

~There was nothing to row to. Only the sea, filled with the crimes of his past.

~The sky, the very sea, was red. Not the red of blooming sunlight, but the crimson red of blood.

~They said her hair had become stained with blood and that is why it was red. Dead Red Delahaye.

~What tossed us into the sea’s dark waters was not the strong winds that carried us forth, nor the storms that brewed and rocked the ship, but the men who found that we were too many mouths to feed.

~The word slides into the hall like frozen glass.

~…the shadows were so profound that just his weighted leg revealed which side was down.

~…the agony of drowning and the peace of death.

~In the end, her most important lesson was the one the students taught.

~Scattered among the sand are a multitude of stones…, worn affectionately from embraces of the ocean.

~I feed on iron and bone and tears.

~Frost clung to her eyelashes and nipped at her cheeks, tasting her. The winter was hungry.

My rating – 5/5

Guest Blog: For A Horror Writer, Inspiration Can Hit At Any Time

By Kaaron Warren

Most writers have an internal voice that runs day and night, even while we sleep. It’s the voice that points out ideas to us, that says, did you hear that, about a snippet of conversation, or see that, about a piece of grafitti or a stray dog trailing a leash, or new shoes neatly placed in the gutter. As a horror writer, that voice can show up in surprising places.

For me, ideas often come hidden in old magazines. There’s something about jumping into the past (and, in a way, seeing into the future because I can find out what happened next thanks to the internet) that sparks ideas for me.

When The Pixel Project approached me for a story for the important anthology Give the Devil His Due, I knew I wanted to write a story where the abuser truly felt the pain of regret and suffering. I just wasn’t sure how.

I flicked through an old Punch Magazine from the 1960s and came across an advertisement for cigars. Two men, one sitting in a leather armchair, one with his foot up on a stool, both completely filled with self-assurance and certainty of their importance. They were in a place called The Steering Wheel Club, which did, in fact, exist at one time.

The idea for a horror story lay hidden under the façade of comfort, companionship and wealth. There were apparently famous steering wheels mounted on the walls and with my horror writer’s imagination, I wondered what sort of men would collect steering wheels behind which someone had died.

Horror stories are a glimpse into the truth.

Glimpses of truth lie hidden in the pages of an old history book. I was glancing through a publication called The Archaeological Journal 1931, and I came across a description of an unnamed woman (who they call Kathleen, but whose name was not Kathleen) who fell in love with a priest, the author says, ‘until he gave her a thorough and well deserved flogging with a handfuls of nettles” after which she saw ‘the error of her ways’ and became a nun. In the Thomas Moore poem, the priest in fact ‘hurls her from the beetling rock’ to her death. The priest comes to regret the loss of her love (not Kathleen, but her adoration) and blesses her to be happy in Heaven, which makes her ghost, which glides mournfully across the lake, smile.

I feel a helpless fury reading this, the same I get when I read about Henry the Eighth’s wives or any other abused ‘appendage’. I’m helpless to change what happened, but through fiction I can affect how I feel about it, and to perhaps gain some small revenge. The good thing about writing horror is that I can make bad things happen. I have people come back from the dead, and ghosts haunt, and I can have Kathleen smile like she does in the poem, but in my story she’ll thrust her ice-cold fingers into his eyes so he will never see god’s beautiful creation again…

Violence against women in domestic situations can be similarly hidden. The face people present to the world (as individuals or as families) can hide the true nature of that relationship. I wanted to be a part of this anthology because while my voice gives me ideas for stories, and I can speak it aloud, there are many, many others who need help, and need the chance to ask for help.


About Giving The Devil His Due (http://bit.ly/GivingTheDevilHisDue

Giving The Devil His Due is a charity anthology featuirng stories where The Twilight Zone meets Promising Young Woman as men who abuse and murder women meet their comeuppance in uncanny ways. Edited by Rebecca Brewer, the anthology features sixteen major names and rising stars in Fantasy, Science Fiction, and Horror including Angela Yuriko Smith, Christina Henry, Dana Cameron, Errick Nunnally, Hillary Monahan, Jason Sanford, Kaaron Warren, Kelley Armstrong, Kenesha Williams, Leanna Renee Hieber, Lee Murray, Linda D. Addison, Nicholas Kaufmann, Nisi Shawl, Peter Tieryas, and Stephen Graham Jones.  The book includes resources for victims and survivors of VAW worldwide, making it a valuable tool for getting life-saving information to domestic violence victims still under their abuser’s control or rape survivors who are too ashamed to ask for help. 100% of the net proceeds from the sales of the anthology will go towards supporting The Pixel Project’s anti-violence against women work. Find out where to get your copy of the Special Edition via http://bit.ly/GivingTheDevilHisDue. The upcoming Classic Edition will be released on 25 May 2022 by Running Wild Press (https://runningwildpress.com/).

About The Pixel Project (www.thepixelproject.net

 

 

The Pixel Project is a complete virtual, volunteer-led global 501(c)3 nonprofit organisation whose mission is to raise awareness, funds and volunteer power for the cause to end violence against women using  a combination of social media, new technologies, and popular culture/the Arts

 

 

 

Shirley Jackson award-winner Kaaron Warren’s most recent books include the re-release of her acclaimed novels, Slights, Mistification and Walking the Tree (IFWG Australia), Tool Tales, a chapbook in collaboration with Ellen Datlow (also IFWG), a novella Into Bones Like Oil (Meerkat Press), which was shortlisted for a Shirley Jackson Award and the Bram Stoker Award, winning the Aurealis Award, and Capturing Ghosts, a writing advice chapbook from Brain Jar Press. She was Guest of Honour at Genrecon 2018, World Fantasy 2018, Stokercon 2019 and Geysercon 2019.

Book Review: Tortured Willows by Angela Yuriko Smith, Lee Murray, Geneve Flynn and Christina Sng

Review by Daphne Strasert

5 stars

Tortured Willows bleeds, sobs, and howls with rage. The poems stab at the monsters who desecrate, they release spirits to deliver revenge and honour the memories of mothers and grandmothers. The words of these four poets – Lee Murray, Angela Yuriko Smith, Geneve Flynn, and Christina Sng – cannot be ignored. By sharing often intensely personal experiences of otherness, of suffering and prejudice, they reach into your heart and demand you listen.

The driving force behind these verses is the combination of cultural heritage, the definition of woman and the modern-day perception of the poets as ‘other’. Employing a variety of forms, – from sonnet to black-out to blank verse – the poems educate those of us who have been unaware as to the level of suffering of our sisters on the other side of the world. The notes provide further information, book, newspaper, document references to their histories and their realities.

Every poem deserves its place. Lee Murray delivers tragedy in Fox Girl and Exquisite and poignancy in The Girl with the Bellows. Geneve Flynn serves up anger in ‘Abridge’, the cultural practice of ghost brides in ‘Bride Price’, the fears of a mother for her son in ‘Unpicked Stitching.
Christina Sng brings up supernatural revenge in Flat, The Visit and The Last Bus, respect for ancestors in The Offering and the place their ghosts still have in our lives.
Angela Yuriko Smith develops the strength of women in Four Willows Bound, the traditions of the Ryukyuan in Onarigami and Her Hajichi, her sense of difference in The Nukekubi.

In theory, I would list every poem – they all have something to say. In lieu of such a list, all I can say is buy – or borrow – but do read – this extraordinary and eye-opening collection

In the words of Angela Yuriko Smith in her poem, Four Willows Bound:

Four willows stood bound
in their sisterhood, in strength —
unquiet, waiting

They are waiting for you.

Guest Blog: “The Asian Myths and Monsters of Tortured Willows”

“The Asian Myths and Monsters of Tortured Willows

By Geneve Flynn

Featured Author: Lee Murray

Southeast Asian mythology is much less familiar territory for many horror fans. While vampires, werewolves, and zombies are well-known, creatures such as the tiyanak, the penanggalan, the pontianak, and the nukekubi are less so. Does that make them scarier? Let’s dive in and see.

Tortured Willows is a newly released collaborative collection of sixty horror poems by four of the authors from the Bram Stoker and Shirley Jackson award-winning anthology Black Cranes: Tales of Unquiet Women. Angela Yuriko Smith, Lee Murray, Christina Sng, and Geneve Flynn showcase some of these creepy mythological creatures in their poetry. In this blog series, we chat to each of the contributors about their monsters.

Please say hello to Lee Murray.

GF: Hi Lee! Congratulations on your wonderful poems! Please tell us a little more about Tortured Willows, and what inspired you to create this collection.

LM: The response to Black Cranes: Tales of Unquiet Women, an anthology comprising fourteen stories by horror writers of Southeast Asian descent, has surpassed all our expectations, so a second volume of some sort seemed inevitable, although perhaps not quite so soon! Nor had I expected that second volume to take the form of a poetry collection. Tortured Willows arose out of a discussion between you, me, and Angela Yuriko Smith not long after the Bram Stoker Award announcements. We were all still reeling about the reach of the book and the broader dialogue the stories had provoked, when someone (okay, it might have been me) suggested that a collaborative poetry collection might allow us to expand on, and even deepen, the dialogue introduced in Black Cranes through use of media other than prose. What if we were to write a collection of poems that explored the themes of otherness and expectation as they applied to our own diaspora? Perhaps we could reach an even wider readership? Angela, always effervescent, was wildly enthusiastic. Poet Christina Sng, whose novelette “Fury” (her longest work to date) features in Black Cranes, also felt she had more to say. You said yes. That’s when the terror set in. While I was thrilled to work with my Crane sisters again, I’m fairly new to poetry other than as a consumer of it, so what followed was one of the most intensely terrifying periods of my writing life. I was a fledgling poet with only around a dozen poems published previously. What did I know about writing a cohesive series of poems which might dovetail with work by experienced, acclaimed poets like Angela and Christina? But, keen to learn more about the New Zealand-Chinese diaspora as it applied to women, including in my own family, I dived in, using poetic forms and historic archives to structure and inform my work. I approached each individual poem as a tiny story whittled down to its bare bones. And of course, since Tortured Willows is a collection of horror poetry, it seemed as natural as air to turn to Asian myth and monsters for added inspiration.

GF: I loved getting a glimpse of some of your very personal experiences as part of the New Zealand-Chinese diaspora. Your poem “tiyanak” draws a comparison between being drained from the many demands and expectations placed on Asian women and the care of a grotesque vampiric baby. Please tell us more about this creature.

Picture attribution- ShareAlike 4.0 International CC By SA4.0

LM:  The tiyanak is a monster of Filipino origin, although similar creatures exist in other Asian cultures. The creature is formed when the body of a dead foetus or infant is inhabited by an evil spirit, or it occurs as the result of a union between a demon and a human. Often found mewling in the forest by hapless travellers, the tiyanak is an insatiable and vengeful vampire, appearing as helpless human baby at first, and later, when it has ensorcelled its victim, it reveals its true vampiric and parasitic self, even as it devours them. The creatures are said to have bloodshot eyes, pointed ears, and tiny sharp teeth. In some versions, they have elongated limbs and wrinkled old-man skin, which they shed in the same way a snake does. Author Isabel Yap describes the creature beautifully in her story “Grass Cradle, Glass Lullaby” in Margrét Helgadóttir’s gorgeous anthology Asian Monsters:

“I held you against my heart and let you rest there, and I could feel your red eyes boring into my skin, hear you hissing. I was afraid, but love is like that. Sometimes, it requires bravery, asks us to quell our fears. Your teeth! Your eyes—fire dancing! And the way all of your skin creased around your face, into terrible wrinkles…” (page 67).

Gabriela Lee is equally eloquent in her story “Rites of Passage” which appears in Black Cranes, describing the monster’s “red-rimmed eyes that do not have a speck of white—the entire sclera is firelight bright” (page116), its smile as “blood coated” (page 116), and its skin darked by the sun and some slick substance that seems to coat it from head to toe” (page 115). For me, the tiyanak was the ideal metaphor to describe the expectations placed on Asian women, who are socialised to sacrifice their own desires in favour of family and community, even to the point of death. This is a lesson I have learned well, so much so that I find it hard to say no. As a result, there are times when I’ll still be awake at 2- or 3am for nights on end, working on other people’s projects at the detriment of my own goals. I wrote “tiyanak” at just such a moment. Here is an excerpt from the poem:

innocence

it latches on

as ever

slivering flesh

to gorge on blood and milk

its tiny claws grip-grasping

tiny teeth rasping

feed me, feed me

GF: Such a chilling image, so perfect to depict how expectations can drain us dry. You reference another creature, the nine-tailed fox in “fox girl.” Where does this myth come from, and what does it symbolise in your poem? 

LM: The inspiration for my poem “fox girl” was Rena Mason’s gorgeous story “The Ninth Tale” from Black Cranes. Of course, I already knew of the shape-shifting fox spirit of Asian mythology (among them Chinese, Japanese, Indonesian, Vietnamese) and the nine mortal iterations the creature must go through in order to return to the celestial realm as her true self, but Rena’s story was so beautiful and so imbued with magical folklore that I was inspired to revisit those tales again. In general, the fox spirit takes the form of a beautiful woman while still retaining some of its fox attributes: paws, ears, or even the tails representing the lives it has lived. Consider this first paragraph of Rena’s “The Ninth Tale” from Black Cranes, for example:

“The fox spirit straightened the skullcap, moist with blood, atop her head then stepped over the headless corpse from which she’d taken it. Her hind paws transformed into petite, human lotus feet adorned in pointy shoes embroidered with golden silk. This visit, her name would be Júhua, like the chrysanthemums woven in the fabric near her toes. The eight tails behind the fox spirit became long braids, winding themselves into intricate loops and circles, concealing the bone that aided her in keeping a human guise.” (page127).

The story, and my subsequent reading, got me thinking about how fox spirits are outsiders, women travelling through time and across lands while wearing another person’s skin, all with the view to achieving enlightenment and (hopefully) returning to their home in the heavens. I likened their journeys to the Asian diaspora in New Zealand, and I was lucky enough to secure a fellowship to write a short poetry collection on this theme. “Fox spirits are very lucky,” writes Ho Pham in Vixen. But that isn’t always true for the women whose form the creatures inhabit. As I dived into New Zealand’s newspaper archives, I uncovered some horrific tales about Chinese women’s lives here, and although I intend to explore the notion further, I was immediately prompted to write a poem and capture my reactions. “fox girl,” a terzanelle, was the result, the repeated lines intended to show the ongoing iterations of the creature’s lives and the common themes of otherness and persecution. Here are a few stanzas from the poem:

in a former life, in another time

a fox girl departs from the land of jade

in a former life, in another time

to a distant cloud where fortunes are made

nine obedient wives, all refugees

a fox girl departs from the land of jade

amid ugly tongues and eyes that won’t see 

one hangs herself in her husband’s kitchen

nine obedient wives, all refugees

*Watercolour by Lee Murray.

GF: Oh my goodness! I love both the poem and your stunning artwork. The fox spirit illustrates the diasporic experience so beautifully. 

Thanks so much for introducing us to some of the mythology that features in your poetry. If you’d like to read the poems mentioned in this blog series, Tortured Willows is available from Yuriko Publishing.

 ____________________________________________________________________________________

Praise for Tortured Willows:

Tortured Willows bleeds, sobs and howls with rage.”—Stephanie Ellis, writer and poet, co-author of Daughters of Darkness

“Thought-provoking, unapologetically brutal, and downright unsettling, Tortured Willows is a collection unlike any you’ve read before…and one you’re not likely to forget. Murray, Flynn, Smith and Sng have not just raised their voices, they’ve roared them into the pages, and the result is simply superb.”—Rebecca Fraser, award-winning author of Coralesque and Other Tales to Disturb and Distract.

“In Tortured Willows, the many veils of a woman’s heart are peeled back, revealing multi-layered petals of an aching beauty, rooted on a stem of vulnerable resistance.”—Jamal Hodge, director, writer, visionary

“This is a brilliant book, insightful and scintillant. Construed as a thematic sequel to the award-winning Black Cranes (the anthology edited by Murray and Flynn and containing fiction by Sng and Smith), it may also be viewed as a distillation. The theme is strong, but the lessons reach beyond it. Cutting across rhetoric and euphemism, Tortured Willows will hold meaning for whoever dares read it.”—Kyla Lee Ward, Bram Stoker Award®-nominated poet

Tortured Willows

Bent. Bowed. Unbroken

The willow is femininity, desire, death. Rebirth. With its ability to grow from a single broken branch, it is the living embodiment of immortality. It is the yin that wards off malevolent spirits. It is both revered and shunned.

In Tortured Willows, four Southeast Asian women writers of horror expand on the exploration of otherness begun with the Bram Stoker Award-winning anthology Black Cranes: Tales of Unquiet Women.

Like the willow, women have bent and bowed under the expectations and duty heaped upon them. Like the willow, they endure and refuse to break.

With exquisite poetry, Christina Sng, Angela Yuriko Smith, Lee Murray, and Geneve Flynn invite you to sit beneath the tortured willow’s gravid branches and listen to the uneasy shiver of its leaves.

 https://www.amazon.com/Tortured-Willows-Bent-Bowed-Unbroken/dp/1737208334

Lee Murray is an author, editor, screenwriter, and poet from Aotearoa-New Zealand. She is the winner of 12 Sir Julius Vogel Awards, three Australian Shadows, two Bram Stokers, and a Shirley Jackson Award, and has been a finalist in the Aurealis, British Fantasy, and Imadjinn Awards, among others. Her work includes military thrillers, the Taine McKenna Adventures, supernatural crime-noir series The Path of Ra (with Dan Rabarts), and short fiction collection, Grotesque: Monster Stories. Other works include non-fiction title Mark My Words: Read the Submission Guidelines and Other Self-editing Tips with Angela Yuriko Smith, and several books for children. LitReactor’s Editor of the Year for 2021, Lee is the curator-editor of eighteen volumes of speculative fiction, among them Black Cranes: Tales of Unquiet Women (with Geneve Flynn). She is co-founder of Young NZ Writers and of the Wright-Murray Residency for Speculative Fiction Writers, HWA Mentor of the Year for 2019, NZSA Honorary Literary Fellow, and Grimshaw Sargeson Fellow for 2021. Tortured Willows, a collaboration with Angela Yuriko Smith, Christina Sng and Geneve Flynn was released in October 2021. Read more at  https://www.leemurray.info/

Book Review: Howls from Hell Anthology

Book Review: Howls from Hell review by Matt Marovich

No matter what the theme of the anthology, the one constant among such books is that an anthology is not going to completely be the thing for everyone, and Howls From Hell, A Horror Anthology (which I’ll just refer to as Howls from here on out) is no different. That said, I will say that I enjoyed most of the stories in Howls and even the ones I enjoyed less were still decent. 

Other than being generally “horror”, there’s no real standard theme to the stories in this anthology, all of which come from members of an online community called the HOWL (Horror-Obsessed Writing and Literature) Society. The stories cross the gambit from ones I would describe as more Weird fiction than Horror to body horror, monster horror, and slasher horror. There are strange occult stories that might fit in the Lovecraft Mythos or something similar and one of body-hopping police officers/crisis interventionists who possess people in order to solve problems. While I generally prefer anthologies organized around a more standardized topic, the lack thereof doesn’t detract from Howls and I think instead provides it a little bit of strength; where an anthology with a unifying theme might have a few weaker pieces that don’t quite match the rest of the stories, by not having such a thread to tie the stories together it allows Howls to offer a greater variety of experiences that might provide more of a palette to appeal to a greater audience.

The one thing that I will say about Howls is that there were some stories that didn’t quite strike me as “horror”. One such story is “Manufactured Gods”, a piece that struck me as more sci-fi than horror about future explorers of an ancient tomb who make a startling discovery. Another is the story I referenced above, “Possess and Serve” which seemed more like a police procedural or thriller than a true horror story. The first story in the anthology “A Casual Encounter”, which details the first-person perspective from a sex worker who is more than she seems, having an encounter with a john, really isn’t a story with a beginning, middle, and end or a plot with a conflict that is resolved; it feels like it should be a scene in a larger piece. Despite these opinions, these three stories were creatively written with vivid descriptions that captivated me and I enjoyed them quite a lot. 

If you are a fan of horror and anthologies I would recommend giving Howls from Hell, A Horror Anthology a try; it’s a quick read and with the variety of tales to provide I’m sure you’ll find something to enjoy.

Free Fiction Week: July 11 to 17, 2021

 

HorrorAddicts.net is proud to present for your reading pleasure, an entire week of Free Fiction!

Enjoy seven different authors as they bring you tales of tomb raiders, dark assailants,  environmental carnage, strange visitors, rising from the dead, bloody war, and disease.

And be sure to encourage the writers by following links to their work and by leaving encouraging comments! And remember~ Stay Spooky!

 

 

New HorrorAddicts.net Podcast Season 16 to Begin


Interview with Creator and Horror Hostess of HorrorAddicts.net, Emerian Rich. 

Interviewed by Kate Nox, Blog Editor

Nox: Emz, the new podcast season is about to begin. On April 24th we can all tune in and hear the show. I imagine this is an exciting time for you?

Emz: Exciting and busy. The staff and I are all working hard to collect information and create new content for the listeners.

Nox: And how many seasons have you been doing this?

Emz: This will be our 16th season.

Nox: Share with us the theme for this season and some of the reasons it was chosen

Emz: We wanted to really highlight POC voices this year, so we made a call to share with us horror in cultures from around the world. We’ve got some really great authors involved and we’ll be covering horror from all different countries. We made it a goal to populate our bookings with 50-75% POC voices and we ended up surpassing that with over 79%.

Nox: Can you let us in on any of the exciting items the season holds for our listeners?

Emz: We have three anthologies to highlight. SLAY from Mocha Memoirs Press, Haunts and Hellions coming out in May from HorrorAddicts.net Press, and ON TIME from Transmundane Press. We’ll have readings from the authors of those books. We’ll also be hosting a Wicked Women Writer’s All-Star competition for our 200th episode, so the listeners will get to hear from the winners of our contests over the years.

Nox: I’ve heard rumors you have new theme music this year?

Emz: Yes! Our favorite band, Valentine Wolfe, has returned to theme our show with their song, “I Felt a Funeral”

Nox: What will the audio drama be this year?

Emz: The Deadbringer, an audio dramatization of E.M. Markoff’s novel. It’s sure to be exciting!

Nox: Remind our listeners when they’ll be able to tune in for the first episode.

Emz: The first episode premieres April 24th and we’ll start with the black vampire theme. Authors from Mocha Memoirs’ SLAY will be reading their work for us. A full list of themes and guests can be found at: HorrorAddicts.net and you can also listen on all the podcasty things including iTunes, I❤Radio, Stitcher, and more. I can’t wait to talk to my addicts again!

HOW CON: Overlooked Elements of Promotion

Overlooked Elements of Promotion
by Loren Rhoads

You’ve completed your grand opus. You’ve decided to self-publish. You’ve got your first book edited, formatted, and ready to go. What next? Let’s talk about the overlooked elements of promotion.

Promotion is a huge subject and each of these headings should be an essay on its own. Because of that, I’ll just do a link roundup and we can discuss each topic more in the comments.

1. A Good Author Bio

The #1 thing you can do to boost your promotion is to write a good author bio. The bio should do three things: name you, name your book, and demonstrate your credentials to have written that book.

Some exercises on the subject:

lorenrhoads.com/2016/09/15/writing-an-author-bio/

Bad author bios:

scribewriting.com/how-to-write-your-author-bio-and-why-it-matters/

2. A Good Headshot

Amazon wants an author photograph. Goodreads wants an author photograph. If you guest post or are interviewed anywhere, they’ll want a photo of you. If you’re using your Facebook page to connect with people at conventions, they’ll want to know who to look for.

Theodora Goss had a great post about how to fake being photogenic:

theodoragoss.com/2014/01/19/being-photogenic/

There’s also this, if you need more inspiration:

venuscomb.tumblr.com/post/42145730399

3. A One-Sheet
/Media Kit

When I worked for a record label, we wrote one-sheets to go with every new release. You should write one for every book you publish. It will go in every paperback copy of your book that you send out to reviewers. You can use it as the book’s homepage online. Your one-sheet should include your book cover image, the book’s description, blurbs, and information on release date, publisher, and a list of where it will be for sale: bookstores, Amazon, Indiebound, your website, etc. It should also include contact information, in case the recipient has questions.

Most crucially, it should be no longer than a single printed page.

This is the one-sheet I wrote for my space opera trilogy, even though those books were published by a traditional publisher:

lorenrhoads.com/writing/the-dangerous-type/one-sheet-for-the-dangerous-type/

4. An Author Website

Now that you have the basics nailed down, you need an author website to display them. This is your home on the web, where interested readers will come to find out what you are doing next. It’s also where interviewers and podcasters will come to see if you’re worth their time. It needs to look absolutely clean and professional.

I used to have a designer-created website, but it was frustrating because I couldn’t update the pages myself. This is the easiest list of how to set up your own site: en.support.wordpress.com/five-step-website-setup/

Elements every author’s website needs:

janefriedman.com/author-website-components/

5. An Amazon Author Page

Every author needs an Amazon page. Amazon doesn’t make them easy to find, but you can set up a page at authorcentral.amazon.com. You will need your photo, bio, and website info handy. If your book is sold on Amazon already, you can claim it as yours and Amazon will add it to your author page.

Personally, I think Amazon’s design is kind of busy, but it allows you to link your blog and add all the books you have stories in. Here’s my author page, as an example: amzn.to/2GXj7I2.

6. A Social Media Strategy

You can’t do it all. Seems like a new social media site pops up every month. Usually it’s not worth being an early adapter, unless you want to stake your name, because it isn’t worth wasting time calling into a ghost town.

There are many theories about when you should post on social media. This one made sense to me: blog.kissmetrics.com/science-of-social-timing-3/.

7. An Author Blog

Blogging is a great way to draw people to your work. There are many blogging platforms, from the abovementioned WordPress to Blogger to Blogspot for text, Instagram and Tumblr for images. There are more blogging sites all the time. (See above: shouting into a void.)

I’ve heard that Google’s algorithm prioritizes sites that update frequently, but you risk chasing readers away if you post too often. People unsubscribe if they can’t keep up with you. I’m an advocate of blogging once or twice a week with text, but daily on Instagram or Tumblr.

WordPress has a free online course for beginning bloggers: dailypost.wordpress.com/blogging-university/blogging-fundamentals/.

8. Guest Blogging

I am a huge proponent of blogging for other people’s sites. I know there’s a long list of reasons why working for exposure will kill you, but your work isn’t going to magically sell itself to people you don’t know. You need to get it out in front of strangers. Either you can spend money on ads, or you can spend time writing a guest post. You tell me: which one is more likely to sway you to buy a book?

This site has annoying popups, but the information on how to pitch a guest post is on point: www.convinceandconvert.com/content-marketing/9-tips-to-perfectly-pitch-your-guest-blog-post/.

9. Goodreads

Too often, writers make the mistake of joining writers’ groups, then trying to sell their books to other writers. If you want to connect with readers, go where readers are. I lean toward Goodreads over LibraryThing because I like the way it is set up. At the very least, if your books don’t have a listing, you should add them. Beyond that, you should have an author page. Review books that are similar to your own as a way to draw readers’ attention. You can also review books that inspired or influenced your own work.

How to use Goodreads’ author program: www.goodreads.com/author/how_to

My Goodreads Author page: www.goodreads.com/author/show/976431.Loren_Rhoads

10. Step Away from the Computer

After you’ve done everything you can online, it’s time to think about doing live events. I encourage everyone to do readings. If there isn’t a reading series where you live, set up an event at your local library, bookstore, or coffee shop.

The #1 thing people forget when they’re going to read in public – whether you set the event up yourself or you are appearing as part of someone else’s show – is to ADVERTISE it. Let people know. Invite your friends. It’s awful to stand in front of an empty room.

I don’t necessarily advocate solo book signings. Unless you can count on all your friends’ support – or you have mad selling skillz and can seduce strangers out of their hard-earned cash – signings can be frustrating. With a reading, they’re getting a free taste of the work you want to sell them. Do it right and they’ll be in the mood to treat themselves.

Here’s the distillation of my knowledge on giving readings:

lorenrhoads.com/2016/09/19/reading-your-own-work/

So. Whew. That’s the quick list of ten things you should be doing to sell your books right now. Have you tried any or all of them? What worked for you? What would you like to try next?

HOW CON: Top 10 Things To Remember When Planning a Writer’s Event

Top 10 Things To Remember When Planning a Writer’s Event
by Kate Nox

1. Consider your audience – Who will be there? This will determine everything else, venue, speakers, entertainment, everything starts here.
2. Reserve your venue early – Many venues sell out fast, so get the place settled. Your advertising and attendance depend on it.
3. Set a firm deadline for registration – This is for your sanity more than anything else. It should be far enough in advance for you to alert your venue, your caterers and your workshop presenters as to numbers. If you just can’t say no, then anyone who tries to register after the deadline goes on a waitlist in case there are cancellations.
4. Think about comfort – make sure your attendees will be comfortable. Is the room big enough, can they hear, is it too hot or cold? Are there tables to be comfortable writing? If they are to be there more than an hour, will they need a break? Is the restroom nearby? Are there sleeping accommodations if it is a multiple day event? Will water or other refreshment be furnished by you or the venue?
5. Provide a contact  – A phone number or email address where attendees can ask questions. There will be questions! Make sure someone answers.
6. Fit speakers to the crowd – Workshop or keynote; the speaker should be of interest to your crowd. As a teenager I was part of a church group that would advertise teen crusades and when we arrived the speakers would invariably be in their sixties! Not a fit.
7. Add a little for expenses – Nothing is worse than arriving at an event and realizing something is missing. A few dollars extra in the kitty can be a lifesaver. Just a couple of dollars per attendee is all it takes.
8. Remember you are working with human beings – People need time. Time to walk or drive from event to event, time to network, time to use the restroom. When making your schedule, leave time for human needs.
9. Communicate with your audience – Make sure your attendees know if the weather could be chilly, if the hotel has wifi, if they will need to provide their own meals. Help them be as prepared as possible when they arrive for your event.
10. Thank everyone – your speakers, the facility, anyone who helped you in any way and all who attended.

HOW CON: Getting out of the slush pile and staying out!

Getting out of the slush pile and staying out!
(Publisher/Editor View)
by Emerian Rich from HorrorAddicts.net

Choosing a sub call

*Investigate the publisher, familiarize yourself with their publications. Know what they stand for and what they’ve liked in the past.

*If there is time, ask trusted writer friends if they have dealt with them.

*Have time to write what they are asking for or have a story in your locker that you can change to fit.

Subbing

*Concentrate on the deadline and give yourself a doable work schedule.

*Right before subbing, revisit the sub call guidelines on their actual site to see if anything has changed, or if you missed anything.

*Make sure you put your name and contact information on the manuscript in case it gets separated from your email.

*When in doubt, use the William Shunn method: www.shunn.net/format/story.html

*Create a proper, short but informative cover letter. In the cover letter, you should include:

*Word count

*Story name and elevator pitch. Shorts: 1-2 sentences, Novels: 3-5 unless stated otherwise

*Your name and 50-word bio.

*Anything else they may ask for in the sub call.

Example:

Editor, Please find attached my 3500-word story, “Full Moon Over Washington.” In this fantasy comedy story, werewolves fed up with the nonsense of humans take political office.

Joe Wolf is the author of the werewolf series, Dark is the Night. He’s been published in a handful of anthologies by publishers such as Dragon Moon Press, FullMoon Publishing and White Wolf Press.
To find out more, please visit: joewolf.com

Thank you for your consideration,

Joe Wolf

Don’ts in a cover letter:

*Don’t assume the gender of the editor if you don’t know. Mr. Mrs. Miss. Ms.? Old-fashioned and can be taken wrongly. I would prefer Emerian or Editor.

*Don’t assume an acquaintance with the editor until he or she has reciprocated. Even if you met at a convention, they may not remember you. Reminding them by saying, “We met at WolfCon. I was the guy in the elevator who chatted about Walpurgisnacht.” Is a great way to establish a memory, but don’t be upset if they do not remember you.

*Don’t use swear words, off-color jokes, or racial slurs–even in the title and even if you’re trying to be witty. There are very few instances this will work, especially on a cold-contact where you don’t know the editor or their style.

Don’ts of submissions:

*Don’t sub something that doesn’t fit the theme or guidelines.

*Don’t just send it with no cover or explanation.

*Don’t leave out a part cause you don’t want to do it. Yes, we need what we ask for. You can’t leave out the synopsis if we need it.

*Don’t burn bridges. If we decline you and you launch into decline abuse, you will be on the bad list.

*Don’t send multiple stories or simultaneous submissions unless the sub call states it’s okay.

HOW CON: How to write when you don’t feel up to it

How to write when you don’t feel up to it
by Loren Rhoads

Sometimes, especially these days, it’s hard to do the creative work you want to do. I’ve used a bunch of tricks to get around the blocks. I offer them here, in hopes they’ll inspire you.

  1. Make a list. Whether it’s topics you want to explore or scenes that need to be written, it’s easier to begin writing when you have a prompt.
  2. Set an alarm. Promise yourself that you will settle down to write when the alarm goes off. Giving yourself the anticipation of writing time can be inspirational.
  3. Set a timer. Anyone can write for 15 minutes. There’s something about the tiniest amount of time pressure that tricks your brain into thinking it’s on a deadline. Start a timer on your computer, phone, or in the kitchen. You might find yourself pounding out the words to beat the bell. If the words are really flowing, you can always add a second 15-minute sprint.
  4. Make a date with a friend. Whether you sit down together in a cafe (someday!) or meet online for a video chat, it really helps to know that someone else is working alongside you. The key is to find someone who will write, rather than chat.
  5. Put your headphones on. Many writers make a playlist that they listen to only when they work on a particular story or book. Listening to the same music every time you write can train your brain to provide inspiration on command.
  6. Write somewhere else. If you normally write at a desk, try moving to the sofa or the kitchen table or sitting in bed. The simple act of shifting to new surroundings can shake loose the words.
  7. Try a different writing tool. Do you usually write on a laptop? Try writing by hand in a notebook or attach a keyboard to your phone. Some writers swear by word processing keyboards like AlphaSmart or FreeWrite, which only allow you to see a small amount of the text you’re working on. That way you’re forced to move forward, rather than editing what you’ve already done.
  8. Experiment with dictation. The simple act of telling yourself your story can inspire you. Whether you use a dedicated dictation program or simply take a voice memo on your phone, the trick is to speak the punctuation at the end of each sentence. Also, edit while the words are fresh in your mind, or you may have trouble deciphering Siri’s interpretation.
  9. Write first thing in the morning. It’s tempting to start the day by checking email or scrolling social media, but what would you come up with if you listened to your own thoughts first thing in the morning?
  10. Write last thing at night. Take a notebook to bed and draft one more scene before you turn out the light. Do the words feel different as you’re settling in for the night?  Maybe your subconscious will solve a writing problem for you in your dreams.
  11. Step away from writing. Sometimes the best ideas come when you can’t write them down. Go for a walk, wash the dishes, or take a shower. Let your mind play without the pressure of a blank page staring at you. As soon as you finish your break, sit down to record the thoughts that occurred in the interim.
  12. Remind yourself why you write. Do you have a story you’re burning to tell? Do you have a lesson you want to teach? Are you curious how your story will turn out? Clarifying why you want to do this can show you the path how to do it.
  13. Ask “And then what happens?” Sometimes the next scene isn’t clear. You can get wound up trying to figure out what needs to happen. Instead of insisting on what the story needs, narrow your focus until you only need to come up with the next step. Then write that next step…and the next one after that.
  14. Perfect is the enemy of done. Don’t waste time choosing the right word. Put down the almost-right word, enclose it in parentheses, and keep going. You can always fix it later. This works for names, descriptions, and anything you might need to research. Aim for momentum over poetry in your first draft.
  15. Chart your progress. Whether you put a check on the calendar, color in a box on a habit-tracking chart, or simply make note of your word count, record the days you write. If you only write 500 words a day for 100 days, you’ll have 50,000 words for your book in three months. It’s addictive to see your progress.

 

What other tricks have you found for getting the work done? Make your own list, so you’ll have some tools to use next time you feel at a loss for words.

Loren Rhoads is the co-author of the Spooky Writer’s Planner with Emerian Rich.

HOW CON: Checklist for Self-publishing – for newbies

Self-publishing is a very personal journey. There is no “right” way to pursue it, but here is a nice over-view newbie checklist for those who are looking to pub their own work. There may be steps missing that you will add as you go along, but this is a good way to start.

STEPS OF PUBLICATION – self-publication PRINT BOOK

1. Finish the first draft.

2. Copyright it. (Easy online)

3. Re-read and have 1st readers (3-5 people) read and make comments. Make sure they have an interest in your work or the subject matter and that you trust their opinion.

4. Input edits.

5. Ask for cover blurbs if you are going to and give them time to read the book (month?).

6. Write up: Back cover blurb, copyright page, acknowledgments, author bio and pic, back page ads, and any extras you may wish to add. Insert these into the text.

7. Decide whether you will pay for an editor or not. If yes, have editor review it. If not, have more experienced people read it.

8. Input edits.

9. Format the book. Including margins, chapter breaks, internal artwork, copyright page, acknowledgments, author bio and pic, back page ads, and any extras you may wish to add.

10. Format the cover or get someone to do this. Artwork should be paid for and so should cover design. Make sure your back cover blurb has been copyedited before going to graphic artist.

11. Re-read the formatted version for copyediting only (typos) and have a second group of 1st readers read for copyediting only. Pay special attention to any word graphics, chapter heads, etc… that may be spelled wrong.

12. Input edits.

13. Format/upload the entire book into the KDP website and submit for approval. Wait for approval.

14. Once approved (or not) look at the errors or notes KDP has made and adjust accordingly. Also, check the online proof for any visual issues that may be wrong.

15. Once satisfied with the proof online, order a proof for yourself. Wait for mail.

16. Review live copy. Check all graphics for quality and color. Check all cover items for spelling and clarity. Re-read the entire text for typos or formatting issues.

17. If the proof is perfect, you are ready to publish. If there are issues, fix and resubmit. You may order as many proofs as you need to get it right. It’s best to wait to order the proof until the entire text is right.

18. Submit to publish, order your copies, PROMOTE!

19. Submit to KDP for eBook version. Important to wait to make the eBook version until you have fully edited and approved the print, that way you don’t have to make edit changes in two different formats.

HOW CON: Baby Steps for New Authors

I’ve spoken to hundreds of authors over the years… new, old, mid-career, famous, struggling, you name it. One thing we all have in common is that we were all once where you are. We know how it feels to submit your first work and wait with high hopes by the mailbox (or email inbox) for that special editor’s reply. We know about declines and how sometimes they seem so crippling, you don’t even want to continue. The other link that many new writers have is they are timid and shy about their careers and marketing the “way the pros do it”. Well here are some Baby Steps to get you started.

1. Convince yourself you are an important writer and have something valid to say. If you haven’t read my other post “Three Ways New Authors Sabotage Themselves”, do it now. Once you’ve accepted your fate as a writer and know you have no choice but to follow your dreams, it will be easier to chip away at making those dreams a reality.

2. Start a List. Lists are your best friend for brainstorming promotion ideas. Carry a little notebook with you to brainstorm while waiting in lines, at the doctor, sitting in the car wash, or while stuck at stoplights. Use every spare moment of the day to work on your craft. Remember, you are a writer. Think of it as a real job. A job you enjoy and will succeed at if you keep working on it. Plus, since most of us have day jobs to pay the bills, this daily brainstorming will keep you inspired to continue your writing career and less frustrated with day-to-day mundane tasks.

3. Research your genre and other authors that you admire to find places you might list your book or things you may provide on your own website to draw readers to your site. It is fine to review or discuss other writer’s work on your own blog in hopes of drawing a crowd of those sorts of readers to your blog, but make sure you are always respectful to the other writers you are speaking about. Also, chat with visitors to your blog. The longer discussions you have, the more people may pitch in. Make sure these are subjects you like and can geek out on yourself. It’s okay to have fun!

4. Schedule time to work on your craft every day. If for some reason your life is too crazy for everyday, make it every week, but do it. Don’t let other things get in the way. Don’t cancel and don’t let others make you discount the importance of your writing ritual. Think of it as a job. If you were at work, you wouldn’t necessarily call in because your friends wanted to meet for cocktails.

5. Network with other writers. Even simple discussions in a Facebook group could lead you to a contact who knows other contacts who will help you advance your career. Don’t go into the conversation with the goal to use people to get ahead… just go and chat. Let the networking happen naturally. If you act like a spammer, bot, or used car salesman, you will be tuned out automatically. You also need to tend to your social needs. We all need to feel like we have partners in this crazy career. Count on others online to fulfill that need if you can’t or don’t feel comfortable chatting with writers in person. Try to go outside your comfort level and chat about everyday events in your writing career with others who are going through the same thing.

6. Don’t get discouraged. We’ve all heard, “If at first, you don’t succeed, try, try again.” Get back on the horse and keep at it till you’ve amassed lots of tries. At least one out of three will be productive. When you aren’t good at putting yourself out there and communicating with people you don’t know, it may seem debilitating, but keep telling yourself it will get easier, and it will.

7. Start a blog to practice writing to your future readers. Who cares if no one reads it right now? If they buy your book and start reading it, they will go back to read your old posts. They will be interested because your book interests them and soon you will have someone to geek out on your book with that loves it just as much as you do. Readers love to see where an author started and how far they’ve come. Don’t deny your fans the experience of traveling with you.

8. Be good to people. Don’t be a jerk. Treat them as your friends, because hopefully, they will be. I’m not saying invite them over to your house for pizza, but you can be personable to them. Some of my favorite writers respond to their fan Facebook messages or Tweets. The more accessible to the readers, the more they will be interested in your work. You don’t have to put on a fake personality (unless that is your shtick) to gain readers. People respond to real. Just like they tell us to write what we know, you should chat about what you know and what you like.

Baby Step Sample Plan

Now you can make your own schedule that works for you, but here I have laid out a sample plan for those of you who don’t know where to start. I have broken it into two groups. Those that have something to pitch and those that are still working on their craft but haven’t published anything yet.

For the new writer who is has nothing to sell yet, but is working on it.

For those of you not done with something to send out, keep writing and finish it. You will never get published without a complete project to pitch when the time is right.

Week 1: This week, scout out 3-5 places where you can link into writers or people who enjoy what your book is about. Example: Writer chat groups on Facebook, forums discussing your book topic, blogs that are writing articles interesting and connected to your book.

Week 2: Start a blog this week. You can get one free at WordPress.com. Start posting at least weekly about your research. You don’t have to share story plots and details, just share what you are researching. Example: “Romantic poetry. A character in my book is a poet. Thankfully I don’t have to be one, but here is what I’ve learned about romantic poetry in the 19th century.”

Week 3: Work on your writing this week. Really push. If you have an hour, make sure it’s a tough, no breaks, no interruptions hour! Get something down on paper.

Week 4: Research this week. Look up your top 5 favorite writer’s websites. Take notes. Write down what you like and don’t like about their websites. Find things that they have done to pitch their work. Make more lists! Brainstorm ideas to push your brand as an author. Example: Are you writing a book series about frogs who fall in love? Ask yourself… what will the website look like? If you were sitting at a fair booth, what would you have on the table as freebies? Toy frogs? Lily pads?

Week 5: Plunge in this week. Pick one story/novel you are going to pitch and research the places you might sell it. Are you going to self publish? Start charting out the steps. Will you get an editor? What will the cover art be like? Do you need a formatter? How much of a budget do you have?

Week 6: Make sure your social media is in check. Do you have a Facebook page? Do you have a Twitter account? Send out messages, make friends, search for people with like interests.

For the new writer who is ready to pitch.

For those of you already published, but are having a hard time drumming up the business you’d like. It is presumed that you have already done all the steps above.

Week 1: Scout out 3-5 places where you can place an ad or message about your book without spamming. There are sites that will list you willingly.

Week 2: Take this week to build your exposure on Facebook and Twitter. Share your life. Not intimate details, but pick something you like to talk about and talk! Example: If your book is about fairies, post links about fairies. Tweet: If I had fairy wings, they would be purple. How about you?

*I suggest that unless you are someone huge like J. K. Rowling, you stick with the normal personal Facebook profile. Making yourself a celebrity before you truly are one by creating a “public figure page”, distances you from fans and makes the readers feel more removed from you. Once you hit the too many friends amount, then you can think about upgrading.

Week 3: Work on your sequel this week.

Week 4: Research to find 3-5 reviewers. Most take digital copies now. Email and make plans to send out your book with the understanding that reviews can take months to post. You are laying the groundwork and hopefully setting up a place where you can return and submit your sequel.

Week 5: Find 2-3 friends or other writers/artists/bloggers/musicians you admire and ask if they would like to swap guest blogs.

Week 6: Research and email 3-5 podcast/radio shows that you can come on and talk about your book.

I believe you can do it. Do you?


Emerian Rich is the author of the Night’s Knights Vampire Series and Sweet Dreams Musical Romance Series. She is the Horror Host for the international podcast HorrorAddicts.net and the Queen of Lists! To find out more about Emerian, go to her website at www.emzbox.com

HOW CON: Writers, Learn What the #NGHW Challengers Learned

Our Next Great Horror Writer challenge was an excellent learning process for our contestants and listening to the audio will give you tips on writing and examples of what can be done better and what really makes editors pause and listen to your work. Each audio below covers a different style/aspect of writing. Hosted by Emerian Rich, Dan Shaurette, and H.E. Roulo

#NGHW Episode 1: The top 15 are chosen. 100 Word Stories and how they got into the top by answering questions well and submitting excellent cover letters.

#NGHW Episode 2: 300 Word Monster Stories, how to write flash fiction. Guest judge horror writer and podcaster, Mark Eller.

#NGHW Episode 3: 500 Word Blog Posts, what makes a good blog post impactful.
Guest judge The Count from Cemetery Confessions.

#NGHW Episode 4: Spoof Commercials. How to write short comedy. Guest Judge author and humorist, Timothy Reynolds.

#NGHW Episode 5: Horror Romance Poems, how to write romance poetry. Guest Judges Julianne Snow and Nina D’Arcangela from Sirens Call Publications

#NGHW Episode 6: Horror Music Story, how to write a short story that will sell. Guest Judge Jeremiah Donaldson

#NGHW Episode 7: Horrific True Tales. How to write a blog post of true life horror story. Guest Judge Stacy Rich, Blog Editor.

#NGHW Episode 8: Character Descriptions. How to write a good character description. Guest Judge Annette Curtis Klause

#NGHW Episode 9: Campfire Tales. How to craft a well-rounded short story. Guest Judge Dario Ciriello

#NGHW Episode 10: Interviews. How to interview and how to be interviewed. Guest Judge Stacy Rich

#NGHW Episode 11: Audiodramas. How to write short scripts. Guest Judge director and writer, Frank H. Woodward.

#NGHW Episode 12: 3000-word short story with a POC woman character. Guest Judge publisher Nicole Givens Kurtz from Mocha Memoirs.

#NGHW Episode 13: Review of the 3 novel pitches, how to pitch a novel, first 3 chapters, and the winners of our contest. Guest Judge Joe Mynhardt from Crystal Lake Publishing.

Do you want to be the Next Great Horror Writer? Subscribe to this blog for information on when we launch our next contest.
nextgreathorrorwriter.wordpress.com/

HOW CON! Coming Monday, February 22nd-24th

ALL TIMES IN PST–> But if you join the #HOWCON Facebook Group,
the events will be displayed in your time zone.


Monday, February 22nd, 2021

Workshop and Study Day. Learn from our pros!

9 am: Three Ways New Authors Sabotage Themselves

10am-11am: LIVE EVENT! Concentrated Writing Block 

11 am: Writers, Learn What the #NGHW Challengers Learned

12 pm: Baby Steps for New Authors

1 pm: Checklist for Self-publishing – for newbies

2:00p -3:00pm LIVE EVENT! Concentrated Writing Block 

4 pm: How to write when you don’t feel up to it

6 pm: Play the Imagination Game to Inspire Your Writing.

8 pm: Submitting Your Short Story

Tuesday, February 23rd, 2021

Live Video Chat Day

11am: LIVE EVENT! Q&A with Emerian Rich

12 pm: Blog from Emz: Getting out of the slush pile and staying out!

1 pm: LIVE EVENT! Interview with Horror Writer Loren Rhoads

2 pm: Blog from Loren: Goal-Setting for Writers

3 pm: LIVE EVENT! Interview with Horror Writer Michele Roger

4 pm: Blog from Michele: Preventing the End

 

Wednesday, February 24th, 2021

Socialize/Networking Day

10 am LIVE EVENT! Historian of Horror Hour!

11 am Top 10 Things To Remember When Planning a Writer’s Event

1 pm Overlooked Elements of Promotion

3 pm How to Plan a Workshop

5 pm How to Conduct an Interview

6 pm LIVE EVENT! HOW Forum Chat with Kbatz!

Join the #HOWCON Facebook Group,
to be notified of all events as they happen.

Spooky Writer’s Planner NEWS! SLIM version and price reduction!

Introducing the new “SLIM” Spooky Writer’s Planner.

Was our full version with week-by-week updates too much for you? Now we have a slim version that is only the month spreads plus all the other sheet goodies in the back. Need a thin version to carry with you? Don’t want to have to write in it everyday? This new SLIM version is for you!

Announcing a price reduction on our DIGITAL Spooky Writer’s Planner version! The quick-download version gives you a digital copy so you can print the pages you want, print multiples of those you think you’ll use the most, leave those you won’t use, and create your own Frankenstein’s Monster of a planner! These pages are designed to be printed on 8.5 x 11-inch paper. You can put them in a three-ring binder, bind them with disks, or a spiral, as you choose. You can print different sheets on different colors.

WOMEN WRITING HORROR: A Listicle of Women to Read

WOMEN WRITING HORROR by Renata Pavrey

Horror is my favorite genre in fiction and I read across all of its sub-genres including true crime, psychological horror, comedy horror, from novels to short story collections, dark poetry and anthologies. A random search for horror books throws up the usual fare from Stephen King, Joe Hill, Josh Malerman, Kealan Patrick Burke. While I have loved books by all these writers, women authors in the genre don’t show up as easily, with the exception of Shirley Jackson and Mary Shelley for their classic works. I thought back to all the books I’ve read and the ones in my to-read list and came up with this listicle of horror stories from women writers. These include translated books as well as original language ones, novellas, novels, collections, prose and poetry, fiction and non-fiction by writers, translators, editors, and publishers who create terror through words. From historical fiction, science fiction, young adult, satire, to mythology, folklore, speculative fiction, re-telling of true events, and dark verses – take your pick. Since February is coming up, I compiled a list of twenty-eight women in horror – one book recommendation for each day of the month.

  1. Agustina Maria Bazterrica – Tender is the Flesh

A virus has eradicated animals, and humanity turns to cannibalism for its source of meat as humans are domesticated, mass produced, and slaughtered. Translated from the Spanish, a nauseating and provocative satire that blends science fiction with horror.

       2. Ally Blue – Down

An underwater, paranormal suspense fest surrounding the discovery of a rock-like sphere that causes humans to mutate and turn into horror versions of themselves.

       3. Alma Katsu – The Deep

Historical fiction horror set around the events of the Titanic and its sister ship the Britannic. The maritime disaster and World War I are caught in sinister happenings in this supernatural thriller.

       4. Cassandra Khaw – Rupert Wong, Cannibal Chef

A novella about the dual life of a sorcerer and soldier, combining horror and comedy with Malaysian and Chinese mythology.

       5. Christina Henry – The Ghost Tree

YA horror about missing people and terrifying visions of monsters dragging remains. Ghostly trees, creepy children, witches and curses – almost like watching a horror movie.

       6. Christina Sng – Dreamscapes

Horror, fantasy, and science fiction come together in this poetry collection that addresses the darkness within. Verses that serve to unsettle and terrify, proving how poetry can be more impactful than prose.

       7. Elizabeth Kostova – The Historian

A historical fiction Dracula story moving across time and place with shifting narrator perspectives. A debut vampire novel that interweaves history with folklore and makes for a riveting read.

       8. Fernanda Melchor – Hurricane Season

Mythology and terror from Spanish literature, with the English translation maintaining the grim, intense and graphic prose of its original source in this portrait of a Mexican village and its witch.

       9. Francine Toon – Pine

A haunting tale in the Scottish highlands, filled with intrigue and eeriness, alternating between terrifying and heart wrenching, spooky and suspenseful in equal measures.

       10. Gemma Amor – Dear Laura

A novella of lifelong obsession, this dark, twisted tale about penpals stands out for its brilliantly atmospheric writing.

       11.Jennifer Hillier – Wonderland

Psychological thriller, amusement park, serial killer – gruesome and wicked as you set out to solve crimes.

       12. Jennifer McMahon – Winter People

Historical fiction meets fantasy in this chilling story of missing people and secrets galore.

       13. Joyce Carol Oates – The Doll Master

A collection of short stories that borrows its title from an obsession over dolls, and leads into an unsettling world of abominations and mystery.

       14. Kaaron Warren – Into Bones Like Oil

A haunted house novella with an unconventional narrative and storyline, and an interesting take on the ghost story.

        15. Kathe Koja – The Cipher

Winner of the Bram Stoker award for Best Debut Novel, The Funhole does not live up to its name. A black hole that calls out and launches a journey of obsession, darkness, and blinding terror of classic horror in spectacular prose.

        16. Laura Purcell – The Silent Companions

There’s nothing like historical fiction for a dose of gothic horror. An asylum, a haunted mansion, intriguing journals, hidden secrets – a creepy ghost story that grabs the attention from beginning to end.

        17.  Laurel Hightower – Crossroads

An exceptional novella dealing with the horrors of heartbreak and grief, and things coming back from the dead. An emotional and devastating read that shows you just how diverse the horror genre can be.

        18. Lee Murray – Grotesque

A collection of monster stories that range from mythology to legend and science fiction offering a dip into Maori folklore and French history, zombie attacks and adventures. Packed with action and gore, the stories are a delight for monster fans.

        19. Lisa Kröger – Monster, She Wrote

Why read one horror story when you can read about them all? A non-fiction horror book about women who pioneered the genres of horror and speculative fiction; writers who defied convention and crafted some stellar spooky tales. From ghost stories to psychological horror, intriguing trivia and reading recommendations, a book about books not to be missed.

        20. Lucy A. Snyder – Sparks and Shadows

A dark fantasy collection of short stories, poems, and essays. Twisted tales in myriad settings, witty and diverse, horrifying, amusing, and thought provoking.

        21. Mariana Enriquez – Things We Lost in the Fire

A short story collection of the macabre, mixing magical realism with gothic fiction in this astonishing treat from Spanish literature brought to us in English by translator Megan McDowell.

        22. Mariko Koike – The Graveyard Apartment

Detective fiction and horror writing come together in this translation from Japanese literature of psychological horror set around a graveyard. Deborah Boehm brings this to us in English.

        23. Michelle Paver – Thin Air

A historical fiction ghost story set in the Himalayas. Nature can be brutal enough, but what if it isn’t the only thing you’re battling? Subtle supernatural elements, more psychological rather than physical, can be more horrific at times.

        24. Nalo Hopkinson – Skin Folk

A short story collection of magical realism, science fiction, fantasy, and speculative fiction interweaved with horror. Storytelling at its best.

        25. Samanta Schweblin – Fever Dream

Some more magical realism from Spanish literature is this surreal nightmare of an otherworldly story. Menacing, unsettling, and thoroughly absorbing in its usage of horror to explore current world issues.

        26. Taeko Kono – Toddler Hunting

An exceptional collection of Japanese short stories that explore the dark side of human nature and antisocial behavior. Lucy North translates to English to bring us a startling and disquieting world.

        27. Yoko Ogawa – Revenge

Another dark treat from Japanese literature in an experimental format of seemingly unrelated short stories coming together to form a larger novel. Bland settings and ordinary people up the ante of terrors lurking in everyday life.

        28. Yrsa Sigurdardottir – I Remember You

Scandinavian Nordic noir of isolation and remoteness; horror based on true events. Translated from the Icelandic, a ghost story that proffers the chills.

~Three bonus books for the women who lead the way as editors and publishers~

  1. Lee Murray and Geneve Flynn – Black Cranes

A collection of short stories by Asian writers, highlighting the dual themes of women in horror and Asian women writers. A smorgasbord of mythology, legend, folklore, science fiction, comedy horror, satire, dark fantasy.

       2. Aiki Flinthart – Relics, Wrecks, and Ruins

A collection of science fiction and fantasy with horror to showcase the remnants of humanity and celebrate a legacy. 

        3. Tricia Reeks – Meerkat Press

The publishing house comes out with some very different but very good books, in equal parts weird, unique, and dark.

______________________________________________________________________________________

Renata Parvey is a Nutritionist by profession; marathon runner and Odissi dancer by passion. Driven by sports, music, animals, plants, literature and more. Reads across several genres and languages, and loves the world of horror – in both, books and movies.

URL:

Women in Horror Month

 

This month we are celebrating Women in Horror Month here at HorrorAddicts.net. This month we will bring you contemporary women writers, women writers of old, women movie directors, actresses, characters, and even artists who have brought to life some of those scary monsters we have nightmares about.

You’ll meet women who look like demure housewives but pen horrible, frightening beings who suck your blood! You will read some newly written material and some treasures from the vault.

You’ll hear some of the joys and the challenges of being a woman trying to make her way into the genre, let alone getting to the top of the gravestone.

Join us daily as we celebrate Women in Horror during February.

Asian Horror Month – First Ever Ghost Story Game – Angela Yuriko Smith

First Ever Ghost Story Game

Happy Halloween!

Six authors got together to play an impromptu story telling game. Join us and laugh as we try to make up spooky tales on the spot. Thanks to Kate Jonez and Omnium Gatherum for helping bring the Ghost Story Game to life… and thanks for the brave participants: Geneve Flynn, Lee Murray, Austin Gragg, Ryan Aussie Smith and Eric Shapiro.

About Angela Yuriko Smith

Angela Yuriko Smith is an American poet, publisher, and author with over 20 years of experience in newspaper journalism. She co-publishes Space and Time magazine with author husband Ryan Aussie Smith. For more information visit SpaceandTime.net

Asian Horror Month: Black Cranes Unquiet Inspirations by Lee Murray

BLACK CRANES: UNQUIET INSPIRATIONS by Lee Murray

Black Cranes: Tales of Unquiet Women was inspired when two editors of Asian heritage arrived way too early for a panel at a conference in Brisbane. Geneve Flynn and I both laughed that we should fall so deeply into the conscientious Asian girl trope, and that set us to talking. We’d both been raised in predominantly Western cultures. How was it our behaviour was so influenced by our Asian heritage? Did we know any other Asian women writers? Where were the Asian horror writers? And where was the vehicle for our stories? Our voices? Although Flynn and I had communicated online, and I’d enjoyed some of her fabulous stories published by a mutual publisher, I hadn’t met her previously. I liked her immediately, finding her well-read, articulate, funny, humble (and of course, conscientious). Before we’d even entered the panel session, the cogs were turning, the two of us already sifting possibilities for the anthology we would co-edit. 

Fast forward a year, and Black Cranes is a reality, the anthology comprising stories from many of our favourite authors of dark fiction, a hard-hitting foreword from Alma Katsu, author of The Hunger and The Deep, and published by boutique small press Omnium Gatherum behind a glorious Greg Chapman cover. In the short time since the book’s release, Geneve and I have been overwhelmed by the response to Black Cranes, not the least coming from Asian women writers of dark speculative fiction:

“As haunting and versatile as the Chinese erhu, the stories in Black Cranes pluck and bow the strings of the Southeast Asian experience with insightful depth and resonance.” —Tori Eldridge, author of the acclaimed Lily Wong novels, The Ninja Daughter and The Ninja’s Blade.

“A varied and fascinating collection of monsters, full of dazzling landscapes and writers to watch.” —E. Lily Yu, John Campbell Award winner and author of On Fragile Waves. 

But my experience with Black Cranes has gone deeper than just the chance to work with some amazing writers. Two of my own stories appear in the anthology, inspired by my personal experience as a third-generation Chinese New Zealander. ‘Phoenix Claws’ is a contemporary comic horror focusing on that moment when a prospective partner meets the family, an awkward occasion, especially when the relationship involves a blending of cultures. Will the parents like them? What if that person unwittingly stomps on an important tradition? In ‘Phoenix Claws’ an unwritten litmus test of suitability involving chicken’s feet multiplies the awkwardness of that meeting. 

‘Frangipani Wishes’ is a story sucked from my marrow, one of those tales that was never told to me, but somehow I knew it anyway. Perhaps I heard it whispered on frangipani scented winds while on visits to Hong Kong. Because of, or perhaps in spite of their source, these stories forced me to address my ongoing struggle with my Kiwi-Asian identity and the powerful expectations of self-erasure experienced by many Asian women. And in the case of ‘Frangipani Wishes’, a story pieced together from secrets, I experimented with a new-to-me prose-poem format to capture those shadowy origins. Here’s a short excerpt:

Some things you knew already. Some things you knew before you were born; they were revealed to you in the rhythm of your mother’s heartbeat and in the echoes of her sighs. Later, you heard it in the closing of doors, in the scuff of a suitcase, and the low hum of a ceiling fan.

the bitterness of smiles / the perfidy of eyes

That was back when you lived with your bones squeezed sideways into the spaces between the floorboards of your father’s villa, cowering from the sharp tongues of lesser wives and the cruel taunts of your half-sisters. Back when you were waiting to live, when you lived and waited, comforted by the soft scents of your silly frangipani wishes. Embroidering silk dreams, you waited, listening for the hundred-year typhoons that whipped across the harbour, tugging at rooftops, flattening shanties, and stealing away souls. Because only when the winds raged and the waters of the harbour thrashed, only when the villa rattled with unease, only then were the ghosts quiet. Only then, were you able to breathe.

* * *

Since the moment you were born, generations of hungry ghosts swirled around you, teasing the air, your breath, your hair. Not your fault, although First Wife and Little Wife and the entanglements who dwelled in your father’s villa, those living repositories of secrets, they blamed you still. They whispered behind their hands, hiding smiling teeth, muttering, uttering, chattering. Your mother had unleashed them, they said, spawned them as she spawned you, let the starving ghosts escape into the night. A hundred dragon’s teeth could not drive out such demons. Nor a thousand dragon teeth ground to powdered dust. It was as well she was gone.

Your mother might be a ghost herself; you didn’t know. No one had thought to tell you, although they said other things—mean, sunken, tortured things. Things with thin bony limbs and slender necks. Swollen bloated-bellied things which wormed their way beneath your ribs, pushing aside your lungs, where they took up residence: pulsing, and pulsing, and pulsing… You learned to live with them, the tortured, swirling wisps of ghosts and the ugly, swollen pustules lodged under your heart, while you waited for the tempests, while you waited to live, in your father’s villa on the hillside.

A cousin came to the villa. He worked in the textile business and came to weft and weave words with your father. A distant cousin, although not so distant. Little Wife called for you, she liked to see you underfoot, so you squeezed your way up to where the living roamed, hauling yourself from the damp crawlspace, through the gaps in the floorboards. Scrubbed and pretty, you served Distant Cousin tea in the salon, hands trembling with reverence, since he was your father’s guest. You served the sweet red bean cakes that were everyone’s favourite. You nibbled on the crumbs, caught the rifts of conversations, and a waft of sultry sandalwood. After that, Distant Cousin stayed on, stopping to play mah-jong with your father and his friends, their voices murmuring, and the tiles clattering long into the night.

the harbour / glints / in his eyes

Hello, little cousin, he whispered as he passed you days later in the hall, setting your insides aflutter, like the wings of the skylark Little Wife kept in a domed teak cage in her room. Just in time, you remembered to drop your head respectfully and hide your smile behind your hand.

* * *

Ongoing conversations with my Black Cranes contributors made me realise that my dance with themes of otherness and identity was just beginning, their insightful comments inspiring me to dig deeper into my own history. But how would I do that? And would there be any interest in that work? 

No one wants to know. Maybe I should just keep quiet.

In May 2020, New Zealand journalist Karen Tay wrote in Stuff: “To be invisible in this world is to have your stories erased or reduced to the margin, which is how it’s largely been for many generations of Chinese immigrants to New Zealand. But in the past decade, New Zealand’s Chinese diaspora – from Kiwi-born Chinese, whose families arrived as long ago as the earliest Pākehā, to recent immigrants – is taking back the power by writing their own stories. They are no longer striving to keep their heads down and completely assimilate. Instead, these writers are sharing their own truths unapologetically and unequivocally…redefining on their own terms, one story at a time: the immigrant narrative.” 

Could I add my own voice to those narratives described by Kay? Take back my power? Perhaps a longer prose poem narrative in the style of ‘Frangipani Wishes’? 

Cogs turned again.

I consulted New Zealand’s archive site Past Papers, peeking into the lives of Chinese New Zealand women over the past century: a badly beaten Chinese woman falls from the second floor of a Taranaki tobacconist; in Taumarunui, a half-caste Chinese slices the throat of her new-born with a cleaver; in Wellington, a sixty-year-old hangs herself in a scullery. What experiences drove these women to commit such acts against themselves and their families? Could I also incorporate some of those stories alongside my own? I thought of Rena’s charming story ‘The Ninth Tale’ in Black Cranes, a chilling folkloric tale highlighting the Chinese mythology of the fox spirit—and was inspired again. I would write a series narrative prose-poems inspired and informed by real life narratives of New Zealand-Chinese women, connecting them through the various lives of the Chinese shapeshifting nine-tailed fox spirit, húli jīng, 狐狸精, as that creature attempts to ascend to the heavens. 

Still, I wasn’t sure. 

“Above all,” wrote Alma Katsu in her foreword to Black Cranes, “Asian women are supposed to be submissive. Obedient, invisible, without wants of her own, and so content to devote herself to making others happy. This is the expectation I found the hardest. But I found the mere expectation soul-crushing. That anyone could expect another person to negate themselves voluntarily.” Katsu goes on to demand that we “use the power of story to push back on these stereotypes. To show the damage they cause. To show that we’re made of flesh and blood.”

So, with Katsu’s words in my head, and encouraged and supported by my Black Cranes colleagues, Geneve Flynn, Christina Sng, and Rena Mason, I submitted the proposal to New Zealand’s Grimshaw Sargeson Trustees, and was thrilled to be awarded a 2021 fellowship to work on my project, Fox Spirit on a Distant Cloud.

“This is something very special,” the award convenor confided when she called to give me the good news. 

Nor am I the only Black Cranes contributor who’s been inspired to continue the discussion opened in Black Cranes. Angela Yuriko Smith, publisher at Space and Time, was already focused on promoting marginalised voices, but it is clear her resolve has sharpened, both in her own writing and in her vision for the iconic magazine. 

“I’ve been diving into all kinds of Thai myths and folklore, ghosts, spirit houses that they actually erect and bring items to, and it’s absolutely fascinating,” Rena Mason wrote in one email to me after the anthology was released. Determined to promote Asian and other marginalised groups and brimming with new project ideas, the three-time Bram Stoker Award-winner is currently working on the HWA’s anthology Other Fears, her first foray into editing. With the HWA anthology also addressing concepts of alienation and otherness and due for release in late 2021, I feel proud that she is continuing this important work.

As far as a sequel Black Cranes anthology is concerned, COVID has put a stop to unexpected conversations with new friends in convention centre lobbies for the moment, nevertheless, the cogs are turning…

________________________________________________________________________________________________________

Lee Murray is a multi-award-winning author-editor from Aotearoa-New Zealand (Sir Julius Vogel, Australian Shadows), and a three-time Bram Stoker Award®-nominee. Her work includes military thrillers, the Taine McKenna Adventures, supernatural crime-noir series The Path of Ra (with Dan Rabarts), and debut collection Grotesque: Monster Stories. Her latest anthology projects are Black Cranes: Tales of Unquiet Women, co-edited with Geneve Flynn, and Midnight Echo #15. She is co-founder of Young NZ Writers and of the Wright-Murray Residency for Speculative Fiction Writers, HWA Mentor of the Year, NZSA Honorary Literary Fellow, and Grimshaw Sargeson Fellow for 2021. Read more at leemurray.info.

Website:  https://www.leemurray.info/

Facebook: https://www.facebook.com/groups/MonsterReaders

Twitter: https://twitter.com/leemurraywriter

Instagram: https://www.instagram.com/leemurray2656/

Bookbub:  https://www.bookbub.com/authors/lee-murray

Amazon: https://www.amazon.com/Lee-Murray/e/B0068FHSC4

Asian Horror Month Announced

Welcome to 2021 and our first theme month of the New Year! Because we here at HorrorAddicts.net strive to recognize and highlight as many different voices in horror as possible, we are excited to welcome you to Asian and Pacific Islander Horror Month. This month we will be featuring Asian authors, their books, movies, and experiences. 

From Japan’s Kaiju (Godzilla) in 1954 to the gothic manga worldwide craze of the 90s and 00s, the world has been in love with Asian Horror and its monsters for decades. Yurei haunt us from every corner, shinigami invade our nightmares of the afterlife, and the recent unique fad of zombies in film terrifies us. Whether you’re a fan of more popular media such as Ringu, Train to Basan, and Death Note, or looking to expand your knowledge through more obscure and little-known stories of the culture, this month we’ll bring you all sorts of Asian-infused delights.  

We hope you will enjoy the thrills, chills, and insight this month will bring you!

New Release: Spooky Writer’s Planner

Are you spooky?

Do you write horror, speculative fiction, dark fantasy, paranormal romance, or fairy tales?

Are you a spooky blogger, macabre non-fiction columnist, or haunt travel vlogger?

Are you ready to stop dreaming and be a writer?

Are you an author who wants to take your career to the next level?

PLANNER INCLUDES

13 months of monthly and weekly spreads

Monthly goal and recap sheets

Weekly check-ins and note pages

Writing challenges, planners, and instructions

Submissions, published works, and contacts trackers

Marketing, newsletter, and blog planners

Check-off sheets for website maintenance, social media profiles, and expenses

Fun sheets to generate writing ideas, track your favorite TV series, or to be read and watched lists.

Authors Loren Rhoads and Emerian Rich share the tricks they’ve learned over the course of a combined 50 years in publishing, from working with traditional New York publishers, small presses, and as indie publishers themselves.

AVAILABLE NOW PRINT or DIGITAL

PRINT: The Spooky Writer’s Planner is perfect-bound with a glossy cover, printed on high-quality 8.5 x 11-inch paper. Everything you need is included in one handy book you can grab and go! Have book, will travel!

DIGITAL: The quick-download version gives you a digital copy so you can print the pages you want, print multiples of those you think you’ll use the most, leave those you won’t use, and create your own Frankenstein’s Monster of a planner! These pages are designed to be printed on 8.5 x 11-inch paper. You can put them in a three-ring binder, bind them with disks, or a spiral, as you choose. You can print different sheets on different colors.

Latinx Month: Representation in the Dark

 

by E.M. Markoff

The importance of racial and cultural representation in mainstream media is much discussed these days, as any number of essays, YouTube videos, and social media controversies would show. One thing that I have not often seen discussed, however, is the importance of representation in less mainstream places — in counterculture, in surreal media, in the dark.

Hollywood, unsurprisingly, does not have a great reputation for diverse, accurate representation. As a Mexican-American growing up in deep south Texas, I got used to seeing people like me represented in mainstream media as “the help,” the “comedic sidekick,” the “homewrecker,” the “Latin lover,” or the “narco.” Fortunately, I was able to see myself represented in Mexican media channels, which offered more than the tropes and stereotypes common in Hollywood. Of course, this is not to say that there haven’t been great Mexican and Mexican-American actors in Hollywood that I admired growing up: Anthony Quinn, Dolores del Río, Pedro Armendáriz, Ricardo Montalbán, Cantinflas, and Katy Jurado, to name a few. Even still, in Anthony Quinn’s case, it would have been great to see him play the title role of Emiliano Zapata—an important Mexican revolutionary—in 1952’s Viva Zapata! instead of Marlon Brando.

That type of miscasting is slowly changing thanks to the efforts of BIPOC artists and activists, who have been fighting for decades to make their voices heard. Not that Mexican media doesn’t have its own issues: Colorism and racism against the native indigenous peoples of Mexico are very present, both in media portrayals and in reality. That’s what being colonized does; it tears your identity apart and leaves wounds that only temporarily scab over. 

But as blessed as I was to have access to Mexican media and music, very little of it spoke to me on a personal or spiritual level. Without realizing it, a part of me longed to see myself represented in the things I loved, and I love Horror. 

I love the surreal. 

I love the dark. 

I don’t remember when I first saw David Lynch’s Mulholland Drive, but I remember the feeling of hot tears burning my eyes and the llanto, the cry welling in my chest at Rebekah Del Rio’s performance in the Club Silencio scene. Through the character of Rita—played by Mexican-American actress Laura Herring—that moment became personal to me. It allowed me to see myself represented in a film that encapsulated what my heart had always longed to see—a Mexican-American actress in a starring role that was not a stereotype, cast in a surreal film by a director that I admire. Rebekah Del Rio’s powerful performance was the icing on the cake: She was not there as a token element, she was there to further the story by bringing emotion, and damn did she bring it. When Rita cried, I cried. Seeing yourself represented in what you love holds power. 

On the music front, I love industrial and aggrotech, a genre that tends to be very white and European. Or so I thought until I picked up Hocico’s 2004 album Wrack and Ruin. Hocico is an aggrotech/dark-electro Mexican duo hailing from Mexico City. Formed in 1993 by lead singer Erk Aicrag (Erik Garcia) and Racso Agroyam (Oscar Mayorga), they fused the dark, harsh sounds of industrial—along with its rejection of the mainstream—with the danceable beats of electronic to create a sound and an aesthetic that was uniquely their own. Their music videos and live performances often showcase elements (from mariachi to Dia de los Muertos, to Danza Azteca) that are part of their culture—my culture. 

Here was a band that was part of the music scene I loved, yet still were unapologetically Mexican. They had succeeded by being themselves. They showed me that you can be part of a counterculture and still be proud and loud of your culture and who you are. It meant so much to me because I don’t care much for the music some might say I’m “supposed” to be listening to (the exception being música ranchera, which I LOVE!), and sometimes I’ve even been shamed or made to feel guilty for not being “Mexican enough.” 

Back in 2011, I had the privilege of being able to see Hocico perform live in Germany and even had an opportunity to chat with them. Those two Mexican bastards (as they call themselves) are one of my biggest inspirations, and their generosity will always have a special place in my heart; it can be very isolating not seeing yourself reflected in what you love. Being able to see them on a huge stage, in a foreign land, surrounded by foreigners singing along in broken Spanish will always be a powerful moment for me. 

So yeah, I really believe it does make a difference in a person’s life to see themselves reflected in what they love. It’s part of why I’ve made a conscious effort to subtly incorporate elements of Mexican culture into my own writing. Representation is important, but it can’t be limited to the mainstream, because the mainstream doesn’t speak to everyone. We also need representation in the dark. 

About the Author:

Latinx author and publisher E.M. Markoff writes about damaged heroes and imperfect villains. Works include The Deadbringer, To Nurture & Kill, and Leaving the #9.” Under her imprint Tomes & Coffee Press, she published Tales for the Camp Fire, a charity anthology to raise money for California wildfire recovery and relief efforts. She is a member of the Horror Writers Association and is mostly made up of coffee, cat hair, and whiskey.

Connect with her @tomesandcoffee on Instagram, Twitter, and Facebook

Visit her at www.ellderet.com or sign up for her Newsletter of the Cursed.

You can find her books in print and ebook on Amazon.

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

 

Submission Call: Haunts and Hellions, A Gothic Romance Anthology – Last Week

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

 

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

 

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

FRIGHTENING FLIX BY KBATZ: Scary Waters!

Ahoy, Scary Waters Ahead! By Kristin Battestella

Grab the life jackets for this damp list of warped psychology, island mayhem, and beastly sea life…

Seance on a Wet Afternoon – Oscar nominated medium Kim Stanley (The Right Stuff) and her husband Richard Attenborough (The Great Escape) star in this moody black and white 1964 British two hours based on the Mark McShane novel. Shadows, candles, weeping ladies in pearls, and whispering circles set the tone immediately alongside classy contemporary touches such as driving goggles, sidecars, phonographs, and old fashioned, cluttered interiors – it’s sixties, but with a faux Victorian mysticism. The lady of the house is domineering, claiming her plans have the blessing to do what needs to be done, yet she wishes she were normal instead of channeling sorrow and makes her weak, complacent husband do the dirty work. Is she crazy or is something paranormal at work? Talk of a mysterious, maybe ghostly, maybe imagined “Arthur,” peepholes, boarded up windows, school bells, and gaslighting actions make the audience take notice. There is a lot of talking set in the few rooms of a creepy, oppressive house, however, the unreliable mindset hooks the audience without insulting us. Dangerous drives, escalating music, and camera zooms accent any slip-up and or the chance for things go wrong while the editing of a ransom note is almost humorous in its casual word choices and disturbing calculations on this “borrowing” plan. Viewers both understand and like these perpetrators – they are at one strong enough to pull this off yet incredibly vulnerable and taking tremendous risks. However, we are also disgusted by their hospital ruses and psychic ploys even if we feel sorry for the villains, victims, and agree with a rightfully skeptical father and suspicious law enforcement. Tensions escalate along with the crimes – what was once such a perfect plan orchestrated by an unstable wife is now we, we, we intense and ready to snap with the heat showing as sweat on everyone’s brow. Layered tours and intercut chases up the nail-biting twists as one séance too many might unravel this chance to be famous by solving your own crime. Well acted intensity and warped grief make this taut little thriller perfect for a rainy day.

Triangle– Black Death director Christopher Smith creates a great mind-bending and smartly head-scratching ride in this watery 2009 Bermuda triangle thriller.  There are a few scares, but the within-storytelling and multi-level camera work develop more of a thinking viewer’s Twilight Zone heavy before full-on gore or modern slasher horror.  A decrepit and sinister ship, carefully placed mirrors, dual appearances and deceptions, and altered audience perceptions layer the plotting and paths for desperate mother Melissa George (Turistas). Though it boy Liam Hemsworth (The Hunger Games) is iffy, his role is relatively small. Hefty concepts, time twists, and intelligent debate outshine any small scale productions here, too.  I’d like to say more, but I don’t want to spoil anything!

Writers Retreat Novelists face their fears in more ways than one at this 2015 island workshop with high tide isolation and no internet or cell phones. Awkward book signings, contract deadlines, angry agents, dead vermin, and highway mishaps assure this meeting is off on the wrong foot for our introverted strangers. There’s one emergency landline, and the ice breaker exercises, manuscript focus, and writing discussions are more like therapy for this diverse group. Writers are weird by nature, however some are more pretentious than others, rolling their eyes and creating tension over what they consider hack manuscripts if the wounded amateur is upset by their critique. Staring at the blank laptop screen, long hand journaling, inspirational photography, and subjects going off by themselves provide withdrawn writing routines but the notebooks, clicking keys, and angelic, panning montages make it seem like we’re witnessing something mystical in action when writing is a lot more complicated than that. Brief sentences read aloud reveal much about these characters in need of validation, for a few aren’t even writing at all before sudden disappearances, red herrings, and inside/outside, voyeuristic camera framing to match the lurking men, misogynistic threats, and gory evidence. Private moments away from the workshop make the viewer pay attention to the individual prejudices, flirtations, preferences, drinking, history, and self-harm. Everyone has their issues, but is anyone willing to kill for the ‘write what you know’ experience? Mysteries and relative truths escalate into horror with hammers to the head, stabbings, and rap tap tapping on the windows let in for some slicing and dicing. Vomiting, blood, pointing fingers, and power outages accent the writing angles and slasher styles as deliberate reveals, torture instruments laid out in the kitchen, eyeballs on the platter, and a glass of wine provide scene-chewing villainy. Unfortunately, the intriguing, sophisticated start does devolve in one fell swoop with haphazard running around, dead body shocks, and knockouts or tie-ups that happen too easy. There’s no one by one crafty kill or time for our intelligent writers to piece the crimes together – or not reveal what they know because that nugget would be a great piece for their manuscript. Creative corkscrew uses, torture porn, and one on one gruesome go on too long, unraveling with loud boo crescendos for every hit, stab, and plunge making an injury seem so severe before the victim inexplicably comes back for more. Although the final act and the predictable bookends deserved more polish, this is worth the late-night look for both writers and horror fans.

And Some More Terribly Wet Fun

Creature from the Haunted Sea – Oh, Roger Corman, you’re killing me with this 1961 horror comedy remake of Beast from Haunted Cave! The black and white Beatnik opening chase looks like the Beastie Boys “Sabotage” music video.  The sound, music, bad narration, iffy Spanish, and worse dialogue are very poorly mixed. The poor acting, over the top spy and noir spoof vibes come off all wrong, and the animated credits are downright corny.  I think I get what Corman was trying to do, but the confusing Cuban plot with Beetles and Winnebagos on the chase is too low budget college-kids-with-a-camera. Who’s in charge on this boating escapade- military Cubans? Gold digging Americans? Monsters? Murderers? The singing, crappy spies, a guy who speaks in animal sounds- this is just a really surprising mess. I mean, somebody gets hit with a fish!

Phantom from 10,000 Leagues – Yes, the titular beasty from this 1955 proto-AIP science fiction feature looks completely hokey. It’s tough to tell who is who at the start, and slow talking scenes with poor acting and wooden romances damage the entertaining pace and humor from the action sequences. The weak, simplistic science is also laughable today, and they even pronounce it Mu-tant with a long A! Nighttime footage is tough to see, and the hour and twenty here seems too long. How many times can the same guy go diving for this monster? Fortunately, the drowning scenes and underwater photography look decent with good music and suspense pacing to match.  One can enjoy both the period expectation and/or guffaw over the corny at the same time. This one feels good for a fun night in theme with other sea creature features, but perhaps it is just too flawed to completely enjoy on its own. 

More Nature Viewing Perils include:

Witches and Bayous

Summer Vampires

Island of Doctor Moreau

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

Calling all horror writers! 2nd annual Killer Shorts Horror Short Screenplay Competition

KillerShortsContest.com

Calling all horror writers! The second annual Killer Shorts Horror Short Screenplay Competition is accepting entries from July 1st, 2020.
The Screenwriters Network is thrilled to partner with literary managers, producers and executives to unearth the next visionary talent in horror. The Top 10 scripts will be read by a star-studded panel of industry judges, with a further combined $5,000 worth of prizes up for grabs including copies of Final Draft screenwriting software, waived entry fees to multiple screenwriting contests, increased rank on Coverfly’s The Red List, free subscriptions to on-demand horror streaming service Shudder, and more.

The industry luminaries who will read the Top 10 finalists and select the winner include: Julian Terry (Whisper, They Hear It, The Nurse), Chelsea Lupkin (Short of the Week, Lucy’s Tale), Barbara Crampton (Re-Animator, From Beyond, You’re Next), Joe Bob Briggs (The Last Drive-In with Joe Bob Briggs), Scott Stoops (Good Fear Film + Management), Glenn Cockburn (Meridian Artists), Lee Stobby (Lee Stobby Entertainment), Scott Carr (Management SGC), Jason Tamasco (Bad Idea Films), John Zaozirny (Bellevue Productions), Krista Sipp (First Friday Entertainment), and Jenn Wexler (The Ranger).

The winner of Killer Shorts could well be the next Hollywood success story. Feature films such as Lights Out, Mama, District 9 and The Babadook all originated as proof-of-concept shorts. Recent shorts “Whisper” (Julian Terry), “Bedtime Story” (Lucas Paulino and Ángel Torres), “Meet Jimmy” (David-Jan Bronsgeest and Tim Koomen), “The Blue Door” (Megan Pugh and Ben Clark), and “Larry” (now titled “Come Play”, from Jacob Chase), have since been discovered by major studios and are now in development as features.

“We’re looking for writers ready to take the next step in their career” said Alison Parker, Contest Director and founder of The Screenwriters Network. “Savvy writers will get a head start on a feature version of their short, so that if they end up speaking with a literary manager they’re in the best possible position to sign.”

Killer Shorts very proudly works alongside female-led film groups to provide heavy discounts for submissions to their female-identifying and non-binary writers.

“In Season 2 we are focused on providing even more opportunities for women and POC,” says Alison Parker, “We hope that by being proactive, we will see more female-identifying and non-binary writers, as well as people of color, represented in our list of finalists in 2021.”

Finally, when asked for advice on what kind of scripts Killer Shorts is looking for, Alison responds, “Give us something we haven’t seen before. We received 765 submissions in Season 1. We read a lot of werewolves, vampires, serial killers, and zombies. There must be something unique about your story and how you tell it. Whether that’s how the killer kills, a location we’ve never seen before, a new type of monster, or a strange point of view, push yourself to be different and give us something new.”

The Killer Shorts Horror Short Screenplay Competition is possible thanks to the esteemed sponsors: Shudder, Final Draft, Rue Morgue, Creepy Co, Script Butcher, Coverfly, FilmFreeway, Screenwriters Network, ISA, Slasher TV, 1313 Mockingbird Lane Toys & Collectibles, Ghoulish Gary, Trick or Treat Studios, Waxwork Records, and Fright Rags.

Entry fees start at $20 for ‘Early Bird’ entries submitted by September 1 2020, with a final deadline of December 15, 2020. VIP members of The Screenwriters Network can enter for free. Entries can be submitted via Coverfly, FilmFreeway or ISA Network.

For more information, including further information on the judges, full details on qualifying criteria, competition rules and deadlines visit:

KillerShortsContest.com

About The Screenwriters Network: Established in 2016, The Screenwriters Network is the world’s most popular screenwriting Discord server, with a fast-growing community of over 6000+ professional and amateur screenwriters. The server offers both free and premium VIP membership with additional perks and benefits, including a podcast, script hub and table reads.

For more information visit: Thescreenwritersnetwork.com

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

HorrorAddicts.net Season 15, Theme Announced

In these uncertain times, it’s important to know what NOT to do to keep yourself safe.  But we aren’t talking about hand sanitizer, face masks, and bleach. We aren’t even talking about the virus. We’re talking about the very real danger of being CURSED.

For the past two seasons (13 and 14) we’ve been telling you all about cursed objects and places, how they got cursed, and what’s happened to people who’ve crossed their paths. Season 15 will bring you cautionary tales of those who have fallen prey to the curse and how NOT to become one of them.

Each episode, we’ll be talking about ways you can protect yourself against curses such as:

*Don’t be a boasting jerk. Learn about the dude who just couldn’t win gracefully and carried his rivals head around to boast about it. The curse got him in the end.

*Don’t board a boat with Violet. Learn about the woman who survived three boat sinkings and the hundreds that died in her place.

*Leave well enough alone. Learn about the dude who missed being shot, but was shot by the same bullet while attempting to remove it from a tree.

Learn these warnings and more during the 13-episode Season 15, coming in April 2020.

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

Submission Call: Haunts and Hellions, A Gothic Romance Anthology

Haunts & Hellions
a gothic romance anthology
edited by Emerian Rich

GOTHIC ROMANCES of old featured a female protagonist dealing with a terrifying ordeal while struggling to be with her true love. Set against dark backgrounds of medieval ruins or haunted castles, the love interest was either a brooding handsome gentleman or a supernatural monster disguised as a gentleman. Following the example of such works as Northanger Abbey, Phantom of the Opera, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House and the like, we want your darkest, creepiest horror love story. 

Although we crave gothic romance style, don’t feel the need to paint a damsel in distress. The woman may certainly be the one who saves the day. We are also open to LBGTQ love stories. The main plot should be horror and romance. We don’t like stories written specifically with social or political agendas. Sensual or passionate stories are acceptable but we don’t want erotica or sexually-based stories. No rape. The editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.

Stories MUST contain: 

  1. An overwhelming sense of menace and dread. Horror must be just as much a part of the story as romance. 
  2. Inclement weather.  ie…fog, rain, snow, hurricane. 
  3. A supernatural horror being or entity. ie…ghost, monster, vampire, werewolf. Being can be the hero, anti-hero, or the being they are battling against. Just remember the editor likes horror. Be careful of sci-fi creatures or anything that sways sci-fi or fantasy.
  4. Set in a spooky location. ie…ghostly gatehouse, haunted lighthouse, dilapidated abbey, crumbling cathedral, terrifying tower, cursed castle, decaying plantation.
  5. Time period 1700-1940. We are looking for the classic gothic romance feeling in whatever time period you choose. Also, if writing a diverse character, please set to time period standards. Know your world, what the political/social rules were and if you break them, make sure it’s plausible. If it’s an alt-history world, make sure our readers understand how it became that way without writing an encyclopedia on the subject.  

Look below for examples of books & movies that have the feeling we are looking for.
No previously printed work and no simultaneous submissions.
We are doing blind submissions. Wow us with your story.
Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: 12 pt Courier, Times New Roman, or Garamond.
*Double spaced.
*Your manuscript must be in either DOC, DOCx, or RTF format.
*DO NOT place your name in the manuscript.**
*No header on the manuscript. JUST THE TITLE.

**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

TO SUBMIT YOUR STORY, CLICK HERE:
https://forms.gle/KKb39vo7Go9FFqGZ6

 

Deadline: October 31st, 2020, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/20). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com


FURTHER EXAMPLES OF THE GOTHIC ROMANCE FEEL WE ARE LOOKING FOR TO INSPIRE YOUR WRITING: 

Movies: The Hearse, Crimson Peak, Vampire Journals, Dragonwyck, Sleepy Hollow, The Woman in Black, Gingersnaps Back, Brotherhood of the Wolf, Bram Stoker’s Dracula (1992), Byzantium, Suspiria, Corpse Bride, Mary Riley, Dark City, Kill, Baby…Kill

Books: Northanger Abbey, The Grey Woman, Dracula, The Woman in White, Jane Eyre, Wuthering Heights, Witch House, The Yellow Wallpaper

Music: Midnight Syndicate, Valentine Wolfe, Destini Beard, Goblin, Mazzy Star

Musicals: The Phantom of the Opera, Sweeny Todd, Love Never Dies, Corpse Bride

TV Series: Dracula (2013), Penny Dreadful, Dark Shadows (1991), Twin Peaks 

Multimedia Opportunities at HOW Con 2020!

Don’t have time to read everything at the HorrorAddicts.net Online Writers Conference this week? Prefer to Learn with Audio? Enjoy Video Workshops instead? HOW has you covered for a Multimedia Writing Experience!

Browse a variety of Technological Teaching Tools including:

Next Great Horror Writer Podcast Series

HorrorAddicts.net African American Multimedia Conference Video Coverage

Horror Podcasting with Nancy Kilpatrick

Back to Basics: Writing Like We’re 10 Video Prompts

SecondLife Workshops with Sumiko Saulson

Even when our Live Conference Events end, HOW remains as an Online Archive to browse Chat Transcripts, Author Panels, and Writing Workshops brought to you by HorrorAddicts.net!

 

HOW Con: New 2020 Workshops!

If you can’t take time out to be part of the Live Shout Box Events happening at the HorrorAddicts.net Online Writers Conference Feb 25-27 never fear! Our forum based conference has numerous workshop for your Publishing, Writing, and yes, Horror inspirations!

In addition to our Previous Articles and Video Panels from last year that attendees can still access, New Workshops for our 2020 Conference include:

Speculative Author Diane Arrelle Interview

Using the Imagination Game to Inspire Ideas by Emerian Rich

How to World and Character Build in Horror by Charles F. French

What to do When Real Life Interferes with Writing by Kristin Battestella

Back to Basics: Writing Prompts Like We’re 10 Video Exercise

10 Things to Remember when Planning a Writing Event

How to Plan Workshops and Oral Presentations

And MORE!

Remember to Sign up and Log in so you can experience all HOW has to offer! 

#HOWCon 2020: Live Shout Box Events!

It’s that time of year again! Time for the HorrorAddicts.net Online Writers Conference! Take a little winter time out with us February 25-27 at http://horroraddictswriters.freeforums.net/ to focus on YOUR writing thanks to our writing articles, author interviews, and publisher how-tos. Browse at your leisure regardless of time zone or pajamas, or join HOW for our Live Shout Box Chats featuring noted editors and horror authors!

 

Here’s the Schedule for our Live Shout Box Events:

Tuesday, February 25 8 p.m. est/ 5 p.m. pst HOW Shout Box Welcome Party

Tuesday, February 25 9 p.m. est/ 6 p.m pst NGHW Winner Jonathan Fortin.  Jonathan is a winner of The Next Great Horror Writer Contest. His LILITU: THE MEMOIRS OF A SUCCUBUS will be available on March 27th, 2020, on both Paperback and Kindle. It’s being published by the award-winning horror publisher Crystal Lake Publishing. Visit www.facebook.com/pg/JonathanFortinAuthor for more!

Wednesday, February 26 12 noon to 1 p.m. est / 9 a.m. pst Horror Author Charles F. French. Charles is a college professor and the author of Maledicus: The Investigative Paranormal Society, Book 1; Gallows Hill: The Investigative Paranormal Society, Book 2; The Investigative Paranormal Society Cookbook; and French On English: A Guide To Writing Better Essays. For more information about Charles visit
www.charlesfrenchonwordsreadingandwriting.wordpress.com

Wednesday, February 26 9 p.m. est/ 6 p.m. pst Naching T. Kassa Chilling Chat Hostess and HorrorAddicts.net Publishing Editor

Thursday, 2 p.m. est 11 a.m. pst Horror Author Nancy Kilpatrick. Nancy has been a 4 time Bram Stoker Award finalist, a 7 time Aurora Award finalist, a 2 time Paris Book Festival winner for anthologies, the ForeWord Reviewers Award silver winner for collections, the winner of the Murder, Mayhem & the Macabre award; The Standing Stone short fiction winner award; Interzon winner; and winner of the Arthur Ellis Award for best mystery story. For more information, visit nancykilpatrick.com/

Thursday, 12 est 9 p.m. pst Shout Box Late Night Finale Party

See you at #HOWCON2020!

This Week! : HOW CON 2020 Coming February 25-27!

We’re BACK and once again The HOW Conference is open to Any Genre and General Writing Topics, not just Horror!

Authors, Editors, Agents, Publishers, Readers, and Writers are invited to be part of The HorrorAddicts.net Online Writers Conference February 25-27, 2020. Learn HOW to hone your literary craft thanks to interactive online forums, live chats, writing exercises, and more FREE opportunities to sharpen your skills wherever you are and whatever you write.

Workshop Submissions for HOW are Currently OPEN!

What kind of workshops are we looking for at HOW you ask?

~Interactive forum based workshops, worksheets, writing exercises or prompts in any genre or writing skill level
~Articles and essays with writing tips, experiences, or references, again in all genres or on technical tips, formatting, grammar, etc
~Editor, Agent, and Publisher essays, experiences, or feedback
~Articles and tips on marketing, networking, promotion, and social media for authors
~Genre-specific essays, tips, trends on world building, characters, genre perimeters, etc.

If you are an author, editor, agent, or publisher and would like to do a Q&A, chat, or live audio/visual event, let us know! Shoutbox Chats and Live Events are currently being scheduled for Tuesday, February 25 and Wednesday, February 26. Have an idea? Don’t hesitate to ask! If it is technologically possible, we want to do it at HOW!

Register now on our Free Forum at horroraddictswriters.freeforums.net for more information. Don’t worry, it’s free and Easy! Workshop submissions can be done directly through the forum system or by emailing your workshop proposal no later than February 7 to horroraddicts@gmail.com. Please use the subject heading ‘Horror Addicts Online Conference Query’ so we recognize your message.


To participate in HOW, you must register at our Online Writers Conference Forum. During the week of the conference, the Workshop boards will be open. Each board will contain the workshop threads, conveniently sorted by genre so our experts can present their tips, worksheets, brainstorming, and more. All you have to do interact – host your workshop, browse the forum, participate in one, two events or as many aspects as possible and get inspired with HOW!

Thank you for your participation and we look forward to seeing you at the Horror Addicts.net Online Writers Conference!

 

Revisit the Writing HOW-tos from Last Year’s Conference:

HOW Video Workshops

HOW Guest Authors

HOW Chat Transcripts

 

A Bloody Valentine Event – Colorado Springs Women Writers, HWA

On Friday, February 14, 2020, the satellite chapter of HWAColorado will be hosting A Bloody Valentine event to celebrate #WomeninHorrorMonth.

This event will be held at:

Cottonwood Center for the Arts

427 E Colorado Ave, Colorado Springs
Maps and Directions

7p-10 pm.

Doors open at 6:30 pm.

This event is free and open to the public.

Food and beverages will be available for purchase.

Fiction is the focus in the main gallery with live and pre-recorded readings by L. C. Barlow, J. A. Campbell, Hillary Dodge, Angie Hodapp, Kate Jonez, Gwendolyn Kiste, DeAnna Knippling, Shannon Lawrence, b.e. Scully, Angie Sylvaine, Sarah Read, and Mercedes Murdock Yardley. In the upstairs theater, the program includes poetry readings from Linda D. Addison, Andrea Blythe, Marge Simon, and Stephanie M. Wytovich. There will also be an academic segment featuring “Mapping the Collective Body of Frankenstein’s Brides” by Carina Bissett, a reading by academic Alex Scully from the anthology Birthing Monsters: Frankenstein’s Cabinet of Curiosities and Cruelties, an excerpt from Monster, She Wrote: The Women Who Pioneered Horror and Speculative Fiction by Lisa Kröger and Melanie R. Anderson, and a presentation by the Ann Radcliffe Academic Conference co-chair Michele Brittany. Additional programming upstairs is still being finalized.

We have secured more than thirty-five signed books by award-winning authors and editors nationwide to give away as door prizes. In addition to signed editions featuring all of the presenting authors and academics, a selection of other books collected so far include Uncommon Miracles by Julie C. Day, The Monstrous Feminine: Dark Tales of Dangerous Women published by Scary Dairy Press, Deadmen Walking and Death Doesn’t Bargain by Sherrilyn Kenyon, Her Body and Other Parties by Carmen Maria Machado, The Manufacturer of Sorrow by Michelle Scalise, Fabulous Beasts by Priya Sharma, The Vine Witch by Luanne G. Smith, Creatures of Will and Temper by Molly Tanzer, and The Line-up: 20 Provocative Women Writers, edited by Richard Thomas. Other authors and publishers who have committed to sending signed books include Hex Publishers, Lisa Morton, and Jeani Reactor at The Horror ‘Zine. The support for this event has been fabulous, and we’ve been receiving new signed books by authors each week.

To stay updated on this event, please consider Liking our Facebook page (https://www.facebook.com/HWAColoSpgs/) and following us on Twitter (https://twitter.com/CosHorror).

Mocha Memoirs Press : Tell Your Story Regardless

Telling Your Story Regardless
by Nuzo Onoh

A while ago, a lovely literary agent had this to say about my manuscript when I contacted him for representation. It is impressively wrought and fully realized. I am sorry to say that I don’t have a clear vision for how to break it out in a very crowded and challenging market for fiction.

Ouch! Needless to say, I was gutted by the rejection. Without him telling me, I knew without vanity that my story was indeed impressively wrought and fully realised, but just like several other agents before him had stated, they all lacked the courage to take on something so different from the current market trend, that it was simply easier to pass.

Did I sit down and fold my hands and cry, chuck my manuscript into a drawer and leave it to collect dust and wallow in hopeless despair? Hell no! What I’ve done is take control of my writing and my destiny. I knew I had a story to tell, a rich African culture to share with a wider audience through the medium of horror.

Growing up, my earliest African horror influence was a book by Amos Tutuola titled, The Palmwine Drinkard. The book was a brilliant narrative of folklore, told in the authentic pidgin English of the average uneducated Nigerian, and it resonated so much with me that I knew I wanted to write and tell my own story, one laced with African lore but embodying all the modern elements of a good horror story. I wanted to write African ghost stories, supernatural narratives that will induce feelings of dread, suspense, terror, revulsion and shock, stories that are unsettling and unexpected, yet showcasing African culture and lore.

In time, as I started discovering other works of regional horror, from Japanese horror to Scandinavian horror, I realised there was no market for African horror in the literary field, even though there were a few results for African horror film, thanks mainly to the Nigerian Nollywood industry and the South African horror film fest. It wasn’t because Africans weren’t writing horror; rather, it was simply because no African writer had opted to market their work under that genre. Worse, the popular press had already cannibalised the phrase so negatively, that a google search for African Horror inevitably came up with negative results about the African continent, covering stories about wars, famine, Aids and every other evil they could report. Needless to say, similar or worse events taking place in Europe and America were never covered under the heading of American Horror, British Horror or Spanish Horror etc.

So, when I started writing my stories, I decided to reclaim that heading and turn the phrase, “African Horror” into something horrifically positive. Firstly, I set up my own publishing company, Canaan-Star Publishing, UK. I had no idea about publishing. It wasn’t one of the things we were taught during my masters degree programme in Writing. But I was determined to tell my story nonetheless and so, spent endless hours poring over internet articles on publishing and marketing.

My first African Horror book, The Reluctant Dead, was finally published in 2014 and I undertook a vigorous marketing strategy using the phrase, African Horror” for my book’s category. It worked. By the time I’d published my third book, The Sleepless, in 2016, not only was my name coming up in google searches, but other African writers were now using the same category to market their work! I have since been invited several times to either give talks, deliver lectures or contribute to anthologies by people who googled the phrase, African Horror and discovered my name.

My journey is not over yet. My story is not done yet. I still have many characters begging me to tell their stories, to bring them to life in the pages of a book. My stories may not be commercially viable for agents to represent, but as long as I have a story to tell, I will continue writing. The good news for me is that today, almost 6 years since I first wrote and published my first African Horror book, and despite the fact that I’ve not carried out any promotions or published a book in two years due to some health problems, my books continue to sell and my desire to share my unique story remains as strong as ever. This just shows that a good story will always connect with someone, somewhere, somehow.

So, if you have a story to tell, if you hear the voices of those characters who won’t give you any rest till you tell their stories, then just write. Just write regardless of rejections, regardless of financial constraints, regardless of self-doubt and regardless of the commercial market. Just write because if you don’t, you’ll never know what could have happened if you’d taken the risk and followed your dream.


Nuzo Onoh is a British Writer of African descent. Popularly known as The Queen of African Horror, Nuzo is the writer of horror fiction from the African continent. Her works have featured in multiple anthologies and magazines, promoting her unique genre, African Horror. Nuzo holds both a law degree and a Masters Degree in Writing from The University of Warwick, England. She lives in Coventry, from where she runs her own publishing company, Canaan-Star Publishing. Now recognised as the front-runner of African Horror, Nuzo is the author of the bestseller, Unhallowed Graves, a collection of African ghost stories, amongst other works. Her books are available from Amazon.