Habitica is a free online site (and phone app because everything is a phone app right now) that allows you to write goals and track your progress. Like all progress trackers, Habitica gives users satifaction by checking off completed tasks and clearing a dashboard. More than just checking a box, the site gives the user points that allows them to customize and build a small fantasy character. Doing dishes or completing a writing goal isn’t just exciting in its own sake, now your little character can level up to achieve better armor or a better attack. While “gamifying” work can appeal to anyone, I thought the fantasy character nature may appeal to fantasy or scifi writers.
There are three styles of habits one can write.
“Habits” or goals that a user strives to repeat daily or 2-3 times a week. They are important but the user doesn’t want to be penalized if they don’t get around to completing these things every day. Instead the habits will color coat, suggesting how good a person is at completing them but not setting anyone back if they don’t get to an item every day.
“Dailies” are mandatory tasks that renew each day. If you DO NOT complete them, they will negatively impact your little avatar. This is a more carrot/stick method of goal planning where completing the goals gives your character great bonuses but forgetting to do them too often will lead to your avatar passing out.
“To-Dos” are one time, one-day style tasks. Finishing them is epic, but there’s no set timeline on getting to them and there is no need to repeat the tasks.
How I use Habitica as a writer
While I first used Habitica for the “Dailies” section. Forcing myself to either “put up or shut up,” I find it’s healthier for me to use the “Habits” and “To-Do” sections. It makes me less likely to micro manage my time or fill up my goal list with things I KNOW I will complete so I can collect the points. Checking off boxes and making plans makes me feel good and sometimes I’ll make a ton of plans instead of working on anything. Habitica enables this kind of behavior, so if this is you, beware.
I use the “Habits” section to suggest things I like “check social media X for X amount of time,” “respond to 2 people in y forum,” or “write x amount of words this week.” Habitica can also be a reminder system. It helps me remember to focus on general life or well-being items outside of writing specific goals.
Sometimes Habitica is just a tracking system. If I am trying to decide between projects I wanted to work on, I might create a habit for each book/story and see which one I checked off the most.
I planned to use the “To-Dos” to manage all my creative writing ideas, but it’s unnecessary. I’m excited about all my story ideas and can just keep a running paper list. I jump into creative projects without problem. Instead my “To-Dos” fill with ideas for blog posts and suggestions regarding what to edit next. This way when I schedule time to write up blog posts, I don’t waste time wondering what topics to cover.
Overall, Habitica has helped me stay organized and focused as a writer. While any list could do this. There is extra incentive to do well when there’s a cute little avatar face staring back at me asking for the next couple points to level up. I realize this won’t work for everyone, but if you’re in a rut, it might be worth trying.
Talk to me! Do you use any habit trackers in your writing? Do you use a planner at all or does all structure repel you? How do you feel about deadlines and goals when it comes to your writing or creative process?
Welcome to January’s resolution time! Two weeks is enough time to reflect on 2018 and decide what you might want in 2019 right? That’s right, I’m talking writers’ goals! It’s that fun and dreaded time to commit to completing story X, writing Y amount of words a day, seeking and learning from critical feedback, improving weakness C in your writing, ect. What’s your writing resolution(s)?
It’s been a year since the North Alabama Writers’ Group posted in this blog, and I opened our first post with New Year’s Resolutions. It seems fitting that 365 days later, I offer a reminder that a writers’s group can help you reach those goals.
Why Join a Writers’ Group?
People join writing groups, classes, and programs for many reasons. I think the two primary reasons to join/meet is:
-Improve writing. We are looking for someone to suggest skills and styles we don‘t have. We may need proofreading. We are looking for others to help us past writer’s block. Or maybe we just need another person to tell us we’ve “jumped the shark” or lost reader’s interest.
-Motivate us to keep writing. A constant struggle whether a hobby or full-time is to keep writing and maintain commitment to the one project. We may love that work as we’ve loved nothing else in our lives, but it is difficult to keep working on it and striving for completion. Whether you struggle in the first draft or the second, there is a point where you think “I can‘t do this, no one will see what I’ve done as I do and that‘s the best gift I could give my creation”. A group either through feedback or encouragement helps us get through this struggle of sorrow and ambivalence. They help push us.
A third, perhaps lesser reason to join a writers’ group is to become part of a community. Writing is a lonely journey. It’s nice to get together and speak to others who have the same struggles and maybe the same thought process.
Are There Different Writers’ Groups?
Yes. Some exist to work together on group projects. Other’s give out weekly assignments, like a class, and they ask everyone to produce something from a related theme. Still others are more open and each writer pursues their own project, sharing as they are ready. In some writing groups, no one shares any work at all, they gather to commiserate over the process and perhaps hold brainstorm sessions for each other.
Can one writers’ group accommodate all these different goals?
Maybe? In the North Alabama Writers’ Group we struggle to balance differing expectations of our growing group. It’s hard because all writers go through periods of low creativity. Writers also have varying temperaments and accommodating everyone at one meeting can be a challenge.
To help with some conflicting desires, sometimes it’s good if a larger group breaks out into sub groups. We do this at meetings when those who would like to take part in our blitz round robin break off from other writers who would prefer to discuss their own ongoing works. We always allow time for those who want to read their recent works aloud to share, but we force no one to read out loud.
We have multiple online spaces. Google document sharing happens between writers looking for more structured commentary. This blog is a space for general writing conversations and topics we may not always explore in the face-to-face meetings. Our Facebook group allows for link sharing in a less formal format.
That’s great, but this post should tell me how a Writers’ Group helps me reach my goals!
A good writers group wants to support each of their writers goals and ambitions whether it’s a hobby or it’s something the person is seeking to pursue professionally. While balancing different levels of expectation and production is difficult, it’s important you take the time to get to know the people in a group and see if what they are offering will help you in your process.
Do you leave filled with creative energy and the desire to write? Does the group’s feedback present new avenues for you in your story or future re-writes? Are you able to co-author works with your group or perform a writing exercise at your meeting that helps get your process started? Does the group link you out to other writers, editors and publishers and can you grow through networking and differing perspectives?
I can‘t promise that all writers’ groups will help a writer. And I won’t promise that the North Alabama Writers’ Group is a good fit for everyone, but I would encourage all writers to find a group/person that supports and drives them forward. You may have to create the content in solitude, but you don’t have to travel through the whole journey alone.
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.
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
This post speaks to my personal writing process for “Halloween Spirit” and as such is contains spoilers for that work. For a deeper understanding of the elements included or explained in this post please read my flash fiction (it’s short and free ^_^).
Zach Standfield challenged me to write a piece of flash fiction in August. One of the ideas I had was to create an elaborate detailed summoning rite that brought about the end of the world. The short work would focus on my strengths: lyric description and magic set in a modern world. It would avoid my weakness for action scenes and it side steps issues I have about over explaining or creating a finite conclusion.
I wrote two flash works for Zach (neither of which he’s seen) and they both took a grim turn resulting in the brutal murder of the female main character from outside forces she surrenders to. Waaaaay too close a metaphor for the suicidal tendencies slipping into my own head because I’m not handling stress well at work. For the record, I’m not contemplating a plan to end my life, it would be stupid to take a permanent solution for a fleeting problem. But the stress from ongoing conflicts at work is leading me to think “it would be much easier if I wasn’t around” and that was coming through too literally in my writing.
I shelved the third flash idea since I didn’t want it to morph into a 30 something female woman sacrificing herself on the boardroom floor, using the energy of her death to open a hell dimension that forces the people who mistreated her their to suffer for eternity.
Then, I had an idea for our blog. Each of us should write a Halloween themed flash for our blog. Awesome idea, except I suck at short stories and had no idea what I would write.
I thought maybe I’d lean into my fae angle and do a “Wild Hunt” style thing, but “The Most Dangerous Game” already exists. Plus, the idea took over 1,000 words to explore. If I wanted to do something new/interesting, it would take more than 1,000 words.
Next I thought “what’s my thing in the writers’ group?” My literary device is some kind of magic. This reminded me of the summoning story I‘d planned for Zach’s challenge. The problem: no Halloween tie in. So I changed the summons and instead of focusing on a cinematic summoning ritual, I focused on the holiday and hidden darkness that lingers in the fall. I played on the “Wicca” God and Goddess creation myth where the Goddess Births the God, they become lovers, and he dies on Samhain, to be birthed out again in the following Yule. I tossed in two cult classic “Wicker Man” (1973) references to hearken the reader back to a certain time and tone.
For birds gathering, I chose crows over ravens primarily to reference the figure “The Crow” (1994) and foreshadow the death elements. Also, crow mythology pegs the creatures as watchful, resourceful and often tricksters… all elements I wanted to elicit in my story. I thought about using Ravens in honor of Edgar Allan Poe, but those birds are larger, live in only specific regions, and mythologically relate back to winter.
I wrote the first 600 words in one afternoon and would have finished, but I had to stop and go to work. I reread/edited what I had so far and finished the first draft four days later. Ran everything through ProWritingAid and posted to Google Docs for the Writers’ Group to Critique. I read it out loud one last time and added it to our queue for publication.
While the creation process was painless, I’m torn on whether I like the final product. There are great single lines and ideas, but the word limit combined with the time constraint kept me from digging in to find a perfect moment. I usually only consider works done after months of review and reflection, so I figure in six months time, I’ll know what would make this story engaging.
Interested in reading more from Jessica Donegan? Check out the NEWG bliz round robin exercise here with Jessica’s ending available here
Looking at the path from spoken story, to recorded story, to printing press, and now to online and print formats, I can see that technology historically is huge for the aspiring writer. It seems that as technology and communication improve, the different ways it can help writers also exponentially increases. I’m awed and overwhelmed with the different tools at our disposal. To help sort the varying tools, I’m creating a series that explores different services mean to help an aspiring writer. This week we have tools meant to increase daily word count or to encourage a daily writing practice.
750 Words is my favorite of these sites. The purpose is to write 750 words or three pages every day. Once you’ve created an account, it will provide a space to enter text and you just type. When complete, send in your work and 750 will analyze the writing to see whether you were happy or relaxed based on keywords. The site will break down when you paused and when you were in a hot streak. For those who like to compete, you get points and a score board if you keep to the daily 750 word assignment. Best of all, all your writing is private. First thirty days are free and it’s only $5/mo afterward.
Write or Die is an software that puts pressure on the writer to produce text in a set amount of time or…consequences. The most disturbing thing the software does: it deletes words if you pause for more than a few seconds. Write or Die will either help you up your word count or obliterate every letter on the page. It costs $20 and I’ve often toyed with whether it might be worth the price tag to place my feet to the iron. I’m afraid I don’t have the stomach for the software.
Word Counter does a lot more than count your words! If you create a free account, you can create goals to work towards and the site will track progress for you. The site is linked to Grammarly, so spelling and grammar can be altered through them. Beyond that, Word Counter offers stats similar to those available on Hemingway App. It provides a reading level, how long it would take to read or speak, and it also offers a “word density” that may suggest whether you need to crack open a thesaurus. For strict editing, I prefer ProWritingAid, but if I was looking for a hybrid motivational tool and editor, Word Count seems like a capable option. It’s free to use.
Rescue Time, the wonderful Christopher Palmer mentioned this site to me, and I think it’s great for the aspiring writer. The light version lets you set goals and tracks how much time you spend on the web and where. It let’s you know how much time in front of the screen you’re wasting not writing!
What do you think? Do you use any of these softwares? Do you know of any other sites or apps that encourage word count or daily writing? What do you use to track your writing metrics?
I am the self-appointed editor of our group round robins. Anyone who’s read our work knows I am LEAST qualified of the four of us. ProWritingAid is the great equalizer, or at least I have to tell myself it is.
As the editor I have self-imposed rules.
1. Don’t change the core of other’s sections. Whatever they wrote is what they intended and I have to work with that, not hack and slash around to change inherent meaning. Too much change makes it “my story” instead of “our story” which runs contrary to the round robin’s goals.
2. Seamless flow from one writer to the other is the goal, but I can’t change all the phrasing to be “Jessica” (or anyone else’s) style to achieve this. It’s not right to erase someone else’s voice on a joint work to showcase another’s.
This worked well in our first round robin. I used ProWritingAid first to correct grammar, style, to catch and rework repetitive phrasing, and to delete adverbs. The major change I made was plot continuity driven. One writer misread another’s part of the story. Where Anges finds a dead body that writer interpreted it as Anges being the dead body. I had to change content. I adjusted three lines.
Fast forward to our second round robin project. We used Reedsy to find a prompt. The gist was: “Your grandmother makes pancakes for you every morning. Your grandmother dies, but there are still pancakes the next morning.”
This prompt was a different challenge from the last. The first story blooms from three words/themes. Using a specific scenario, encouraged more partnership instead of competition to “take over” the story. This second round robin was smoother and required a lot less finessing to make it seem like one person had written the work.
If reworking it was simple why isn’t it posted here?
The “problem”: I hate my part of the story. Not all. I’m happy with the first three almost four paragraphs, but it goes downhill fast. My ambitions to churn the most words and be the first to “finish” a round robin in fifteen minutes left me with a rambling sticky mess. I do not want to publish such a poor expression of my writing. Everything I think is weakest in my form is on display.
What might be worse, my closing section only drives towards a handful of endings. I broadcasted the only natural conclusion, and that’s driving me to play with the less obvious choices to thumb my nose at myself (because I hate authority so much I’ll rebel against myself when I become the authority and isn’t that an unattractive personality quirk).
Help! Do I publish and unfinished story as it stands? Do I scrap this work as hopeless? Do I make my changes because if I cut the last two paragraphs I could write three kinds of separate endings on my own? Are more drastic changes to my section a benefit I gain as the person completing the editing work? Do I have to keep everything I wrote in the spirit of the exercise and endure the cringe? Tell me what’s a “professional” writer/editor to do in this situation with my minor conflict of interest.
A little last minute, especially for the mid March deadlines, but I figured I’d offer them anyway.
Cenorot 2,500-6,000 words pays $.06 a word the prompt: “The year is 2025. The planet has been riddled with radiation and in an effort to sustain life the world’s leading scientists have come up with a new procedure to keep humans and animals alive. The success rate was high … until the new creatures began to show signs of rot. Genetically and physically enhanced, these monsters begin to turn on each other and their makers.” On a personal note I really wanted to write something for this and found myself bogged down in the “how” and “why” but I’d LOVE to read this anthology. Hoping to see good things here
Transmundane Press up to 6,000 words story themed with dreams, hallucinations, nightmares, and/or visions pays $5-$20 depending on length
Gehenna & Hinnom Books Their magazine does rolling submissions with one window closing March 15th. Looking for weird and cosmic fiction $30 for flash and $55 for short stories they respond in 30 business days to a query.
Corpus Press Halloween stories 4,000-8,000 words scary, atmospheric, thought provoking, humorous or satirical pays $.03 a word
Pantheon Magazine “What we want: Weird, dark fiction; slipstream; magical realism; horror. Fiction with a touch of mythic quality. We want themes based around transformations—things that are shapeshifting, things that are emerging. Make Ovid’s Metamorphoses contemporary and weird and scary. We want a wide scope of voices, cultures, and perspectives.” 1,000-2,000 words flash pays $.06 a word
Weird Nature Anthology 2,500-10,000 words. The title intrigued me but I couldn’t make heads or tales or what the publisher wanted. Couldn’t even figure out an excerpt to offer.
Paper Dog Books 1,000-5,000 words “We’re looking for works of short speculative fiction that consider the future of the internet, artificial intelligence, the mind, and robots. Give us your optimistic, fantastic, bittersweet stories of fantasy and science fiction” pays $.06 a word and attempts to respond within 60 days
First, few caveats. I did not include any publisher who asked for a reading fee. I also didn’t include grants, contests, or publishing offers that were region locked to an area outside of Northern Alabama.
What I did include were all publishing offers I could find that I thought may have appeal to any current members of our writing group. That said, some of the calls for submissions seems like they may be less stable or professional than other markets. I did try to exclude anything that appeared like an obvious vanity press, but there are some calls here I wouldn’t submit to. Use your own discretion.
Due Feb 15th
Deciduous Tales– “We are looking for horror and dark fiction with well realized characters, a strong voice and literary merit between 1000 and 5000 words. Query first for any story longer than 5000 words.”
Due Feb 16th
Black Button– 2000-6000 words midwestern themed horror and dark fiction. Integrate family dynamics.
Due Feb 28th
Dark House Books– Has 2 calls! one is a 2500-5000 words cozy to cozy-noir stories featuring libraries and librarians the OTHER poetry, flash, short fiction, and creative nonfiction reflecting the theme of sanctuary, refuge, shelter, or asylum, from the perspective of those offering, seeking, denying, or destroying it. From Bangladesh to the city animal shelter, all are welcome, as are all genres.
If This Goes On– up to 5000 words at least 1 generation in the future but further out is preferred and it needs to relate to current political issues $.08/word
Body Parts Magazine– Flash up to 1000 AND short stories up to 8000 words theme is “primal fears” looking for horror, dark fairy tales
“This Book Is Cursed“- Up to 7,500 words the theme is “this book is cursed” includes tombs, theater curses, sports curses random vengeance curses
Hex Gunslinger– 1000-1500 flash, 1001-7499 short story, 7,500-17,499 novellette and 17,500- 40,000 novella speculative, mysterious, and romantic weird western tall tales! Framed as an unearthed secret library years after the civil war, each story should hold the ethos of western expansion beginning in 1803 with the Louisiana Purchase, and ending around the 1850s not necessarily restricted to a North American audience. Do not take manifest destiny as a mantra to live by. Shape a world with all the magic and mystery of the frontier without letting the ugliness of conquest be consumed with fantastic whimsy. We want wide open plains where violence ruled, underground movements brewing with tension, and the Wild Wild West in all it’s beauty and madness. Bring us your stories marking the age of the gold rush, injustice, genocide, mass immigration, transcontinental railroads, vigilante justice, telegraphs, outlaws, gunslingers, slick talkers, setting suns, and the impending civil war that would rip a nation apart. They want Pulp fiction, Weird Western, Cattlepunk, Southern Gothic, Folkloric Monsters, Occult Magick, Slipstream, Cowboys & Aliens, and so on
Baba Yaga Anthology– 7,500-20,000 words. Kate is looking for stories from Baba Yaga’s point of view, or the point of view from those she helps or hurts, or from anyone who might be a protagonist worthy of the Baba Yaga story. You can set the story in the past or present. The story can take place anywhere in the world. It can include romance or action or tragedy or comedy.
Dark Water Syndicate– 5000-8000 words “We are interested in short horror fiction about people who sneak into abandoned, forgotten, shunned, or cursed communities and survive to tell the tale. For example: Centralia, Pennsylvania—the mining town abandoned because of an uncontrollable underground coal fire; Love Canal—the New York neighborhood declared off-limits due to extreme environmental pollution; and Pripyat—the Ukrainian city evacuated after the Chernobyl disaster. The emphasis is on communities—a haunted house or other such localized place is not large enough to qualify. The place or people in your story must be fiction, must be told in 1st person and must be a present day adventure”
Horror Short Story Contest– “Entries must be 2000 words or less, typed in 12 point Times New Roman and include your name, age, and contact information.”
No surprise to anyone who knows me, but I love to pitch ideas. Big details, small details, little repetitive themes no one will ever notice, there’s no thought big or small that I don’t want to throw a million ideas at. I have more ideas than I have time to write. Half these ideas are concepts I’d prefer someone else develops. As much as I love to write, reading is my preference. If I saw more engaging imagination in print, I’d write a lot less.
I go to Writers’ Group foremost as a chance to deliver a bouquet of premises at other writers. There’s plenty else to enjoy and appreciate at our weekly meetings, but each week I’m most interested in hearing what others are working on and what I can cook up to help increase their narrative.
There’s always the worry. One day, I’ll ask too many questions, throw out too many ideas, or fixate on an idea I like but the writer who owns the story does not. Got to keep looking for those little tells, but thankfully (and please correct me loudly if this is wrong), it doesn’t seem like my barrage has annoyed anyone yet.
What’s best about the pitch is there’s no wrong concept. Nothing too strange, just a constant flow of ideas until we hit one we like. Free thought association that slowly develops a narrative. Sitting in a noisy coffee shop refining an engaging story to its best form. What isn’t rewarding about that?