This year the members of the North Alabama Writers’ Group made huge strides in our writing life and I’d like to have one post celebrating our successes.
As a group we broke ground in creating this blog and a Twitter account to promote it! Our audience is consistent and seem most interested in reading our original fiction. Our group self-published our first writing round robin, and we published Halloween flash stories.
We have 6 new members. This doubles our group size (but don’t worry, we‘re never a huge crowd, our biggest meeting had 5 of us in attendance at any one time, getting writers to do anything, including meet is hard work). Personal Accomplishments:
-Caleb Darnell shared light satire pieces with our writing group while outlining his latest series. He has a detailed map of his new world and many world building notes and plot points worked out.
-Jessica Donegan worked on 8 stories. She has four short stories she’s seeking publication for. She self-published two works to this blog. Most of her time dedicated to maintaining an active blog presence she has a little over 80 blog posts this year.
-Patrick O’Kelly worked on 7 stories this year. One got traditionally published while one was self-published to our blog.
-Christopher M. Palmer worked on 18 stories this year. Of those 18, Chris completed eleven works. He had two were chosen for published and two were self-published on our blog. Christopher was also instrumental in keeping up our blog. He took part in the comments, shared our posts with his friends, and offered articles of his own.
-Ashley Sanders worked on something super secret this year we await the opportunity to share more details. She was a busy rock star, you must take our word on it.
-Zachariah Stanfield has 5 stories he worked on this year and two older stories published.
Happy 2018! Does anyone have accomplishments they want to share with us? Comment below, and thanks for hanging out with us this year. I hope to see you all next year!
Creative writers often debate the wisdom of publishing fiction and short stories to their blogs or posting a creation process behind their creations. In this post, I will explore the “pros” and “cons” of content. The topic includes posting short works to a blog or through another site for free, posting spin off works, and posting a “how I made story x”style posts. In the interest of full disclosure, I’m in favor of all these style posts and my bias shows. Please consider checking out part one in my Be Bold Series regarding posting site metrics on my personal blog
-You are wasting a story you could have gotten published for profit
-The story you post may be stolen by an unscrupulous person and they may get it published for profit or collect credit on their better known site
-You may have held onto the story, continued to work on it and come up a longer, more complete story instead of the short work you published
-Offering work for free reduces the market for paid work. Why pay money when you can get writing for free?
-Your work may be and the work of your peers may be devalued. Some believe that free writing is bad writing. There’s a further idea that free blog writing is writing that could not have been “legitimately” published so they released it “on the cheap.”
-There are concerns around formatting and presentation of fictional works posted to a blog, just as there are formatting challenges through epub.
-You as a writer offer readers a sample of your style and theme so they can make a better informed decision if they want to commit to a longer work. The works I’ve published highlight elements in writing I specialize in and may help me find the right audience home.
-Alternatively, you may have a one off story that doesn’t fit your genre and still wish to share it. I have a drama piece that‘s out of place with my over all portfolio I‘d one day like to publish. I don’t want to learn all the ins and outs of the drama genre for one piece, a simple answer may be to publish it through a blog.
-You’ve written a work for fun. Our writing group exercises often fall in this category. We were challenging ourselves and just want to share the results.
-You want more direct interaction with your audience. One thing I love about publishing to a blog is that readers post their thoughts and I enjoy that. Yes I can get feedback via a review on a work, but reviews are for other readers. A comment is for both the author and other readers. It’s nice to have an open conversation with my readers.
-Your shorts may be companion pieces to a longer work. For example: I have a “Downtown Huntsville Tourist Trap” book written from the perspective of the characters from “Follow Me: Tattered Veils”. I also have a drink recipe guide and a tarot guide, all a possible collections for people who enjoy my novel and want more from the voices of these characters. I have deleted scenes I may publish to add to the novel hype when I launch the book. Here, I’m selling my novel but adding free bonus material because giving away some writing doesn’t mean I don‘t charge for other works.
Since I have posted flash fiction and short fiction, it’s obvious I’m in favor of releasing my writing through blog posts. However, I will add that it comes down to a case of audience or career. I accept that writing can never be a career for me (for many reasons). My writers’ goals include finding and keeping the largest audience the themes and style of my writing will allow. Is that ten people or a million: I’m not sure. Adding short stories, blogging, and a social media presence are all tactics I’m incorporating to find out.
I’ve never been shy regarding posting my stories. There are a few I regret sharing, but those are from a long buried high school account. Even then, it’s more about the cringe factor than the “missed opportunity” or “devalued work”.
What do you think? Do you read short stories from blogs and free sites? Do you post your own stories for free? Is there a situation where you would give away content? Are there situations where you would never give away content? Share any thoughts you have on getting published for free or reading work that’s been published for free.
It has been a while since starting one of these recommend blogs. In reviewing the others, it seems I always pick up a book with hesitation. Tree of Ages is no different. While I was fascinated with the idea a tree becomes human (I have a love for plant stories and non-traditional sentience), I was worried it would be one of those “chosen one with amnesia stories.” We’d find out it wasn’t a tree becoming human but a human who became a tree and then returned human for— reasons. It’s a fantasy trope.
And Tree of Ages is about a human-ish character who became a tree returning to her original form with amnesia. So, if what I feared is true, why did I enjoy the series? First, because tree girl insists for the first third of the story arc she IS a tree and if she is not a tree, she prefers being a tree. It explores all the tree sentience vs human sentience desired, plus readers get to hear about tree superiority. I enjoy stories where human forms are not the default “best” choice. Through fantasy speculation of this variety, I think we invite conversations about different levels of humanity, and observing what may be just different instead of better or worse. It also creates compassion and likeness to the rest of nature.
Tree of Ages has a HUGE ensemble cast and all of them are developed with story arcs. There are fifteen characters I can think of just off the top of my head who connect with readers. Granted Sara C. Roethle has five books to make these connections, but she starts strong in book one with eight characters and she keeps adding.
I appreciated that the story in these pages was about characters. Yes, a bunch of action happens around the characters, but the action never drives the story, the characters decisions/desires/weaknesses move the plot forward. It’s refreshing to have a solid sense of place, history, and change while also allowing the characters to use personality to move forward.
Is the series perfect? No. I have conflicted feelings on how gay and bi characters were represented. Kudos to Roethle for including diversity of gender and sexuality. I loved how women were portrayed, but there are flaws in her portrayals of gay and bi characters. All of her gay/bi characters start off or remain villains. The one bi character is first portrayed as a lesbian and she falls in love with a male character as she “lightens” and becomes more of a good guy. I don‘t know this was intentional, but I recoiled from that effect.
A gay sailor dies in pain from poison in the swamps and he dies cursing the protagonist. This is sad because his death did not reflect his life. While we, the readers, had minimal interaction, it was clear he had longstanding relationships with two of the cast and he was developing a friendship with Finn, our lead. The bitterness he displayed in death didn‘t match his tone in life.
Aed’s daughter (whose name I can’t recall) appears to be a lesbian (she uses sexuality on both genders but her attraction seems to be fore women), and she is the antagonist for most the series. Even when she‘s not the antagonist, we have sympathy for her without ever liking her. She has a superiority complex and manipulates family and lovers in ways I find abusive.
Belinda, is the lesbian lover of Aed’s daughter and part of her guard. Her arc feels glossed over and rushed in the book, like Roethle couldn‘t figure out her motivations or place within the story. She becomes Finn‘s friend with ease, but she never connects with the crew on any side of the skirmish. She has the opportunity to form lasting relationships with five of the characters and never does, which leaves her an odd and floating in space character.
I’d overlook some of these messed up relationships but the straight counter parts are more healthy. There‘s the ever present annoying love triangle and there is a lot of unhealthy baggage with it. So much, I thought the characters would end up in a threesome (and note to writers, just add the threesome if that‘s what you want, don’t dance around it with a love triangle where everyone respects each other and is friends afterward). Having deep relationships with both people at the same time feels a little like exploiting each person since it lacks an open conversation, but each relationship makes sense and appears to have the right give and take. There‘s a marriage where the development seemed abrupt but over all healthy. The bi character‘s straight relationship is healing for her (which portrays straight relationships as a positive WHILE implying that gay relationships result from trauma so double bad). Even the villainous pair end up in what appears to be a loving straight relationship.
Overall, I recommend the series. It’s a series where the goals change as characters learn more and evolve, but where readers are always rooting for their favorites. I like that no one person’s destiny seems carved in stone and the cast changes rolls as the novels progress. I wish the inclusion of gay/bisexual characters was handled more mindfully, but there‘s so much unique going on in the series, I can still recommend it as a whole work.
Take Aways from Sara C. Roethle’s Success:
1. Women have a place in high fantasy and you do not have to make them special or otherwise justify their presence. Let male and female characters exist as they are without an exposition dump. (this applies to any “minority” character in any genre)
2. While a strong sense of place and world building is necessary to creating memorable and lasting fantasy environments, it does not have to drive the plot. Set the story, let it present options, but don‘t fight if your characters pick a third path the setting doesn‘t seem to offer.
3. Make your story about the character relationships. It’s not “wishy washy” for characters to change their minds, become heroes/villains in their own right, or to decide something they never would consider 100 pages back. So long as the change develops during those 100 pages it becomes a compelling full study of the decision along with the results that come from making certain choices. Write a complete story with a beginning, middle, and an ending. Be confident in your characters and larger world building. People will read more because they like what you wrote not because you left them on a cliffhanger.
4. Relationships can develop without a lot of angst or sexual tension. While there are problems with how Roethle portrays relationships like some of the people who end up together show what I consider friendship without the push to romance (this is bad because it perpetuates the idea that close relationships=sexual elements and that’s NOT true in real life or in fiction), she does a wonderful job creating loyalty and tenderness in her characters. As someone who skips sex scenes and rolls my eyes when there’s too much “attraction” build up in a story, I appreciated that she chose to skip it.
2. I race through Submittable. It’s a sloppy hunt, but I do my best to include EVERYTHING out in the world that meets my criteria
3. I order all the open calls by due date for an easy calendar style view, next I provide a word count so writers can best decide if they can create something that length in the time allotted. Then I the story’s theme, if there is a response timeline, I add that, and I close with the pay.
4. I only include publications that include $.01 word pay out or a royalty pay out.
5. I stick open calls I believe will interest my writers’ group. Poetry, venues looking for the writers to represent a subgroup other than white male (though I do sometimes include women, queer, disabled calls as we have group members who qualify), some genre requests, and erotica calls are omitted.
That’s it. Over this year, it became an organized system I’m proud of, but it does take a long time to find the information and copy it all into the blog. Hours across days go into what looks like a very simple post. I hope it helps people and while you’re here go look at my December Round Up to see if anything appeals.
Enough about me, I want to hear from you.
Are there other elements or organizations I should include? Do you like how I organize the calls and the information necessary to submit? How do you decide who to submit to? Do you submit to publications that pay less than $.01 a word and if so tell me a little about why/what you believe you gain.
Once Upon a Future Time: up to 15,000 words a scifi story that incorporates a fairy tale or folklore. ALL AUTHORS RECEIVE FEEDBACK on their writing. pay is $50 and royalties plus a copy of the book
Arsenika: up to 1,000 words all flash and micro flash or poetry. They respond in 14 days of submission pay is $60 for flash and $30 for poetry
Matter Press: ???words suggests short? looking for anything that deals with the idea of compression. Response time is 1-3 days and the pay is $50
Smoking Gun Press: 1,200-6,000 words “We welcome stories involving all types of supernatural beings… witches, zombies, vampires, ghosts, werewolves and other were-creatures, demons, and anything else we’ve left out! Mixing and matching of different types of beings in the same story is acceptable” all genres are acceptable pay is $20 and a copy of the anthology
Iridium Press: up to 5,000 words any story so long as it has QUILTBAG+ content pay is $.03 a word.
Belanger Books: 5,000-10,000 words “this collection will feature all new traditional Sherlock Holmes adventures with a science-fiction edge. Sherlock Holmes: Adventures in the Realms of Steampunk will feature Holmes in a futuristic Victorian setting. See him deal with airship pirates and steam powered robots. Maybe he’ll even deal with a time traveler or with alien invaders. ” pay is royalties
Selene Quarterly Magazine: up to 100 words between 101-1,000 words 1,001-1,500 words 3,000-7,500 words “Selene Quarterly Magazine publishes quality fiction, poetry, nonfiction, and art that dwells in the shadows. SQM desires stories and poetry that are thrilling, reflective, and imaginative.” pay scale varies for length but all are at least $.01 a word
Ulthar Press: 2,000-5,000 words ” looking for strange, gothic, and fantastic fiction in the manner of E.T.A. Hoffmann between 2,000 – 5,000 words in length. Stories that merely graft his characters into a new story will not be accepted.” response time is 60 days and the pay is $.02 a word
Thuggish Itch: 1,000-4,000 words theme is theme park looking for horror, scifi, and speculative works. pay is $5.00 under 2,000 words and $10 over 2,000 *to make this ‘worth it’ you need to write a 500 word pieceD
Space Opera Libretti: 2,000-7,000 words “The short version of what we want: Silly, diverse sci-fi that involves music. If it’s actually about operas in space, all the better!” pay is $.06 a word
Inkling Press: up to 5,000 words “The first anthology released by Inklings Press was Tales From The Tavern – a short collection of five fantasy stories by some of the early, happy crew that thought it was time to have a go. You can still read that – it’s collected in the Tales From The Tower anthology that rounds up the first year of Inklings Press.” flat $50 pay
Vex Me No More: up to 5,000 words “We want your witch stories! Though they do not necessarily have to be female-centric, they do need to be tales of powerful, unique beings. Remember, this is a horror anthology, so while you can have elements of other genres, we want to be scared.” pay os $.02 a word
Bad Dream Entertainment: 1,500-8,000 words “Bad Dream is now accepting submissions of humorous dark fiction. Editor Brett Reistroffer is looking for original horror fiction with a strong sense of comedy, and most themes, subjects, and settings are welcome but standard genre tropes are definitely discouraged (vampires, zombies, werewolves, etc.). The comedic aspect can be goofy and slapstick or black and morbid, just as long as there are equal amounts of darkness and humor” pay is $.06 a word plus split royalties
Curse the Darkness: 3,000-10,000 words “For our inaugural anthology, Curse the Darkness*, we’re throwing our doors wide open and inviting submissions on the theme of darkness. That could be the absence of light, the presence of evil, or the sinister thoughts of the afflicted. However you choose to interpret the theme, just make sure you leave us afraid to turn out the lights.” pay is $75 flat rate
Alternate Peace: up to 7,500 words “is to feature alternate history stories where the divergence from our timeline comes from some kind of peaceful change to our past. It must explore the consequences of this divergence, not simply introduce the divergence. Stories featuring more interesting historical settings and twists on the consequences of the peaceful divergence from our timeline will receive more attention than those with more standard changes to the course of history. ” response by end of Feb 2019 pay is $.06 a word
Temporally Deactivated: up to 7,5000 words “is to feature stories where the author explores what the phrase “temporally deactivated” could mean with regards to a person, place, or thing. Stories featuring more interesting takes on the twisting of time and how it is integrated into the story will receive more attention than those with more typical twisted time stories. We do NOT want to see stories where “temporal deactivation” means simply death.” response by end of Feb 3019 pay is $.06 a word
Portals: up to 7,5000 words “is to feature science fiction or fantasy stories that contain a portal opening up between two different worlds and the consequences that come from that portal. We are attempting to fill half of the anthology with science fiction stories and half with fantasy stories. ” pay is $.06 a word
Nothing Without Us: 1,000-3,500 words “All works must be fiction—fiction based on lived experiences is welcome. The lead character must be disabled, blind, Deaf, Autistic, neurodiverse, and/or live with mental illness. We do not expect all of these in one character, although we’re sure that character would be amazing. We are accepting fiction in all genres with the exception of hard-core erotica. We are also only interested in previously unpublished works. ” “We welcome writers across the disability, mental illness, developmental disabilities, neurodiversity, blind, and Deaf spectrums. We welcome those who manage invisible and visible disabilities and/or chronic conditions. We welcome those who count spoons! We’re just looking to have an entire work where we elevate the stories written by the folks in our community. We welcome the communities that intersect with the disabled, neurodiverse, mentally ill, blind, and Deaf communities, such as the LGBTQIA2 communities.” pay is $.03 a word
Allegory Online Magazine: up to 5,000 words but between 500-2,000 seems best “We specialize in the Science Fiction, Fantasy and Horror genres. We will consider other genres, such as humor or general interest, provided that the work possesses an original, “quirky” slant.” pay is $15
Cafe Irreal: up to 2,000 words “This fiction, which we would describe as irreal, resembles the work of writers such as Franz Kafka, Kobo Abe, Clarice Lispector and Jorge Luis Borges. As a type of fiction it rejects the tendency to portray people and places realistically and the need for a full resolution to the story; instead, it shows us a reality constantly being undermined. Therefore, we’re interested in stories by writers who write about what they don’t know, take us places we couldn’t possibly go, and don’t try to make us care about the characters.” pay is $.01 a word min $2
Crystal Lake Publishing: 500-5,000 words a non themed anthology in the dark fiction genre with fleshed out three dimensional characters pay is $.03 a word
Nexxis Fantasy: up to 15,000 words “Nexxis Fantasy has a twice a year publication. Our goal is to publish an exquisite science fiction anthology filled with the greatest works from across the galaxy.” the upcoming theme is “Lost” pay is $1 per 100 words
Long time readers of the North Alabama Writers’ Group blog may know I started a monthly series called “The Best of Daily Science Fiction”. For this series, I read every story Daily Science Fiction published each month and featured the works I enjoyed. I stopped the series after Feb even though I read all the stories through April. I stopped posting the series because:
1. Creating a post with so many links and references was a hassle. It takes a long time to write, edit, and find a photo for most posts. What takes 20 minutes to write ends up taking an hour and a half to get set up for publication. These Daily Science Fiction posts took FAR longer because I would research the authors of stories I featured and link to other works/sites where readers could find them. The feedback I got wasn’t worth the time.
2. I didn’t enjoy reading Daily Science Fiction. It pains me to type this, but the truth is: most of the stories Daily Science Fiction aren’t fun, interesting, or unique. And I want to like Daily Science Fiction, but I can’t.
3. Reading the stories there and trying to pick “good ones” was lowering my standards. While I compiled stories for March’s post, I included anything that “was a story” even if I thought that story was cliche. Reviewing the stories to post spiralled me into a depression. Where were my standards? Since when has “almost having a conclusion” good enough? I would never accept something so sloppy in my work or in the work of my fellows. Why was I recommending work that didn‘t inspire emotion or new thoughts? To fill out a blog post, no I wouldn‘t do it.
4. Daily Science Fiction has a terrible website. It‘s slow and often crashes. This is annoying when one is trying to comb through it for cross links. It’s also pretty frustrating when I would try to rate the stories only to have the site continually crash. I suspected the site craps out intentionally if you‘re giving a low score to a story most people seem to like. This conspiracy theory is probably not true, but it‘s hard to keep pleasant thoughts for a site that refused to load consistently. It is a professional paid market, get some web support!
5. I hate the layout of Daily Science Fiction’s website. I would try to search for ALL the stories from authors I enjoyed or from authors I was “on the fence” to read more, and the search engine was super clunky. Also Daily Science Fiction lets repeat published authors write very different bios for each story they submit so I often had to read through as many stories as possible, read the story AND the author bio again looking for hints. They should just have a directory with the most up-to-date bio of each published author in alphabetical order and include links to any publications they‘ve ever had within Daily Science Fiction. This is website networking 101. If the goal of your publication is to offer short scifi work to readers and feature writers others might otherwise never read, make it easier for readers to find more from these writers!
6. The website is ugly. This is petty and not worth mentioning when a site is easy to navigate, but Daily Science Fiction isn’t well laid out. Being on a site that crashes often, takes a while to load, and doesn‘t search well, gives a person a long time to see how unpleasant the whole experience is. The over all aesthetic quality matters a lot more. Guess what, Daily Science Fiction isn‘t winning any awards in color scheme or intuitive navigation.
Tell me about your experiences. What turns you off to a website? What do you look for in a flash or in recurring newsletters? Do you read Daily Science fiction and if so, what’s your experience as a reader? Have you published through Daily Science Fiction and what was that experience like?
1. Wait a few days. Sometimes the initial rage a book gives me fades. Cooler heads prevail and some stuff that made me angry was subjective and not a reason to slam a book.
2. Reread the summary. Did the summary match what I read? Sometimes I expect things from a book it didn’t deliver. Was that me or was it the summary that made my perceptions not line up with reality?
3. Check the genre. I am looking for fantasy reads, preferably Urban Fantasy for an adult audience. I spend a lot of time settling for Young Adult, Paranormal Romance and so on. Sometimes what I hated is a genre standard, and I try not to hate on a book because it’s a romance with fantasy elements and I wanted the reverse.
4. Look at what else the author published. A book catalog sometimes puts a book in perspective and allows me to be kinder.
5. Read another book by that author. Sometimes I need to live in that writer’s style for over one book before I relate to what he or she is doing.
6. Read other people’s reviews. Did someone else enjoy something I missed? Was this book just not meant for me? Others perspectives can help.
7. I focus on what I liked about the book. What kept me reading? If I finished the work there must be some redeemable qualities, what drove me forward and is that more powerful than what annoyed me?
Tell me about your process. Do you refrain from commenting on bad work? Do you dive into a bad review without pause? Do you try to be balanced or lean in to your personal views? Tell me anything related book reviews or what you love/hate in books.
If you’re looking for positive reviews try my Kindle Unlimited series. So far I recommend the Secondborn Series and the Dragon Ridden Series. Let me know if you have other thoughts or suggestions. And as always, feel free to check out my Goodreads profile to see all the good and bad reviews.
I write all kinds of stories, but my favorite ones are where my character is presented with an opportunity for violence and rejects it. It’s where my real life persona bleeds into my writing.
It’s difficult as a writer to create stories centered in nonviolence. A death, fight, or even the threat of violence creates stakes in a work that keeps readers interested. If no one is going to die or be harmed, then what drives investment?
Build interesting Characters. Characters a reader wants to learn about benefit ALL works, but building a curiosity about “what will happen next” when a reader is confident the character is “safe” is crucial if you aren’t going to hold anyone’s life at gunpoint. Readers have to invest because these your characters are funny, charming, quirky, intelligent, or determined.
Build Relationships. Core to the soap opera genre is the “will they won’t they” “What will happen when Susie finds out?!” kind of drama. While soap operas also offer violence, often because serials have gone on soooo long, every relationship twist has been picked clean. If you create deep complicated characters with established relationships, they you can hold interest with their interactions a long time, without ever threatening anyone’s life.
Have a lot of characters. People are social animals, and we like social interactions. Instead of two main characters. Have ten. Let them have their own side plots, spread them out in your world. Let them argue, separate, go their own ways and meet back up. Conflicted goals and ideas can create a rat race to see who achieves their ends firsts. Watch the “good people” get lost in less than moral means to their ends and the “bad people” gain humanity as they see all the harm created from theft x.
Add Mystery. If people aren’t going around stabbing each other and shooting up schools, then there needs to be something else happening. A quest, a pilgrimage, a strange ritual, or an action element that’s out of place. Something curious or suspicious that makes readers wonder “what’s really going on?”
Add Movement. Violence is often equated with action, but it doesn’t have to be. Dance, chases, cooking/cafes/restaurants/hotels all incorporate motion by design. Giving the reader little actions to focus on
To be included in this issue markets must pay at least $.01 a word. Some flat rates only pay that if writers stick to the minimum word count, and royalty pay = all bets are off.
Speculative City: open word count suggests nothing above 5,500 word count. Looking for a speculative work using the theme “knowledge” has a preference for under represented characters within the genre but accepts all stories. responds in 90 days. pays $20-$75
Shooter:2,000-7,500 words the theme is rivalry “Send us stories, essays, reported narratives and poetry on anything to do with competition, antagonism, warring forces and individual foes. The context might be sports, business, romance, politics, survival; the characters might be students, frenemies, parents, current and former lovers, courtroom opponents. As ever, the theme is open to wide interpretation.” pay $25 a story
Pseudopod: 1,500-6,000 words “We’re looking for horror: dark, weird fiction. We run the spectrum from grim realism or crime drama, to magic-realism, to blatantly supernatural dark fantasy. We publish highly literary stories reminiscent of Poe or Lovecraft as well as vulgar shock-value pulp fiction.” pay is $.06 a word
One Story: 3,000-8,000 words looking for literary fiction that stands on it’s own. 3 month response time. pay $500 and 25 contributor copies
Bikes in Space, the Non Binary Edition: 500-8,000 words on bikes in space scifi/fantasy genre with author and characters with non binary gender expression pay is at least $30 with 5 contributor copies
Lamplight: up to 7,000 words “dark fiction, both short stories and flash fiction. We want your best. But then, doesn’t everyone? No specific sub-genres or themes, just good stories. For inspiration, we suggest “The Twilight Zone”, “The Outer Limits”” pay is $.03 a word
Gehenna& Hinnom Books: 250-3,000 for flash and 3,001-5,000 word short story “We are looking for stories that fit the themes of Weird Fiction and Cosmic Horror. Horror, Science Fiction, and Fantasy are all welcomed, as long as they fit in the realms of Weird and Cosmic. All stories must also be speculative in some way. What we mean by this is that we don’t want stories based in realism. ” pay is $45 for flash and $55 for short story
Apparition: up to 1,000 words on the theme security pay is $5 flat rate
Nothing’s Sacred: 3,000 words max “The horror within can range from subtle to grotesque, psychological to physical, dark to full out terror so long as it is character driven. Theme wise, Nothing’s Sacred is relatively open outside of distasteful stories of rape, the degradation and/or humiliation of women, and child porn of any kind.”pay is $.05 a word and accepting the magazine’s hypocritical title
Moonlit Dreams/ Moonlit Nightmare: 1,500-10,000 words “short stories that explore the nature of the psyche, the world (or worlds) around us, and that speaks in some way to the theme presented. Stories should be well crafted and flushed out, having elements of a great story that could be told for generations to come. Including such things as romance, intrigue, comedy or drama are all par for the course as far as I’m concerned – the key is to write a story that lingers both in your heart and mind by the time the last page is turned.” pay is $.01 a word
Mickey Finn 20th Century Noir: about 5,000 words under 3,000 is probably too short and over 8,000 will be too long “An annual anthology of hardboiled and noir crime fiction to be released each fall beginning in 2020, Mickey Finnwill pick up where the three-volume Fedora anthology series left off, pushing hard against the boundaries of crime fiction. Contributors will be encouraged to push their work into places short crime fiction doesn’t often go, into a world where the mean streets seem gentrified by comparison and happy endings are the exception rather than the rule.” won’t hear back to Feb 2019 pay is royalties
The Twelfth Planet Press:17,000-40,000 words “We want gritty pieces that challenge the system and punch the patriarchy in the face. We want stories that resist and rebel… and maybe also books that comfort & inspire. For when things are bad out there in the world. We are looking for books that feed the angry soul.” pay is $300 plus royalties
Moonlight a Queer Werewolf Anthology: 1,000-2,000 words “Whether your werewolves are in space, school, or ruffing it in the outdoors, it doesn’t matter to us! We are looking for stories that span genres and tones. Your werewolves may be moody or the life of the party. All that matters is that they are openly queer and that there is an engaging story around them to be told.” pay is $.07 a word
Crannog: under 2,000 words no genre or guidelines pay is $50 per story
Apparition: 1,000-5,000 words on the theme of resistance “Apparition Lit is seeking original, unpublished speculative fiction that meet our quarterly theme. Speculative fiction is weird, almost unclassifiable. It’s fantasy, sci-fi, horror, and literary. We want it all. Send us your strange, misshapen stories.” pay is $.03 a word
Podcastle: up to 6,000 words “looking for fantasy stories. We’re open to all the sub-genres of fantasy, from magical realism to urban fantasy to slipstream to high fantasy, and everything in between. Fantastical or non-real content should be meaningful to the story.” pay is $.06 a word
Martian Migraine Press Monstrous Outlines: 1,500-7,000 words “an anthology of horror and weird fiction with a focus on the theme of camouflage: people, entities, monsters, gods, even concepts, that masquerade as things other than themselves. Predators in plain sight, deities on their down time, sublime extra-dimensional terrors slumming in 4D. We want to see stories of exceptionally well done camouflage, all the more baffling and frightening for its seamless nature. We want to see stories of seeming where the hidden thing is poorly hidden for a number of reasons: perhaps there are layers to its camouflage, or perhaps it doesn’t care how well it hides. Imagine the moment when the perfectly hidden thing reveals itself. When the poorly hidden thing reveals itself. We’re also interested in duplicates, doppelgangers, and shapeshifters.” pay is $.03 a word
Remnants: word count varies a post apocalypse shared world story/series go to the site for details. Pay: royalties
2100 A Health Odyssey: “give us your best 3,000-word short story that challenges today’s assumptions about the future of health care in the U.S. We’re offering a first prize of $10,000, second prize of $5,000 and other prizes for runners up and current employees, students and alumni of Jefferson.“
As I shared recently on my personal blog, grammar is the bane of my existence. I’m so excited to tell the story or express my idea, that I never push pause and wonder if I’m structuring well. Then, I have comb through everything looking for missing letters, forgotten articles, passive voice, adverbs, missing commas, and the list goes on.
This is NOT a post about the weakest element of my writing (though my rambling could transform it to that in an instant). Instead, I would like to present writers with some tools to combat the grammar demon. After all Microsoft Word and Open Office’s tools, don’t catch most mistakes writers fear.
ProWritingAid:Is hands down my favorite editing tool. I use the “style” and “grammar/spelling” report the most and it helps me find all my major pitfalls. There are over 20 reports a writer can comb through. It allows me to hunt down overused words, pacing problems, and repetitive sentence structure. When I’m “into” my story, I can spend days pouring through the reporting procedures making every element perfect. And I walk away with the sense I improved my writing
Beyond the different reports, there are different evaluations for different writing. I set my editor to ‘Creative’ on default, but you may prefer, “business”, “casual”, “web” or one of the other seven styles.
I use ProWritingAid in the web editor mode, but it has add ons that connect it to Mac, Scrivener, Word, and more. I’ve been working with the software for a little over the year and there are major quality of life improvements with this software. For example it doesn’t get rid of my bold, italic, or underlined text anymore when I copy and paste from one document t to another.
ProWritingAid allows you to use their editor for 500 words or fewer for free. To use the editor on longer works you must purchase. They have many pricing options and it’s affordable (less so than when I bought in but still WORTH IT).
Grammarly:This was the hottest grammar software on the market three years ago when I first poked around in the blogging world. I was convinced this thing would 100% make all the right corrections, and I was disappointed. A fellow writers’ group member, Ashley Saunders, (who is an expert on all syntax and structure) pointed out how much the software missed in my writing. She complained my “edited” draft still read like a rough draft.
Because I was so disappointed with the free services of Grammarly, I never investigated if the paid version provided better corrections. The pricing is more reasonable now than it was then. It may be worth consideration. Still, ProWritingAid offers more evaluation tools. For a writer looking to make their work the best and not just grammatically sound, ProWritingAid exceeds Grammarly.
Hemingway App:An excellent free web app that offers writers insight into readability, adverbs, and passive voice. I used to run everything through here. Since I’ve worked with ProWritingAid a year, I’m convinced the software finds everything Hemmingway App does and makes more helpful suggestions on how to correct issues I’ve encountered. Still, this a wonderful free app and perfect for an aspiring writer not ready to invest any money in a new editor.
Word Counter: I haven’t played a lot with this online tool, but it’s an interesting cross between Grammarly, Hemmingway App and a word production app. Their evaluations look interesting and the service is free. They send me emails about twice a week and the topics are interesting.
Do you have a grammar editor of preference? Am I missing the BEST one? Have I over hyped one editor while downplaying another? Talk to me, tell me more about the tools you use to make your writing everything it can be.