I want you to be confident that you are sending your work to a place where it will fit, and I want to read work that will be the best possible fit. Make my job hard by sending me something that fits the genre and guidelines and punches me right in the face with its terror and disturbing impact.
A couple of weeks ago, I shared a meme to the Crone Girls Press Facebook group. It was a picture of a female Krampus, with a little note about how this mythical figure went around rounding up bad men instead of naughty children. It was a fun meme and relatively on brand for the group,Continue reading “New Horror: Mother Krampus”
Following the submission guidelines is a good way to get past the first round of reading. It removes any of the unintentional stumbling blocks and distractions, and tells me the writer is serious and professional about their work.
For those who have been hanging out in the Crone Girls Press Facebook group, the question of submissions has come up more than once. In addition to the quick submissions calls (like our recent one for a female-Krampus-themed Midnight Bites), I find that readers and authors often want to know more information about the submissionContinue reading “Dear Editor: Maximizing Submission Chances at Crone Girls Press, Part 1”
When I think about writing horror, I imagine looking for the center of a shadow. The part of a monster that lets you understand it is an interesting part. Especially if you understand it, but still recoil from it. That’s the tiny still center I look for as I write.
I am fascinated by how coping with ‘otherness’ shapes the worldview of many of my characters. Horror tropes provide a powerful way for me to dig into the complexities and contradictions of race and gender.
So far we’ve had an Italian author with an American translator from Chicago, a New Hampshire writer with a story set in California, and today we bring you a Scottish author writing a tale set during the Siege of Leningrad.
I love a good chill. I’ve been told that my stories have kept people up at night, made them wince, look over their shoulders, and creeped them out completely. To me, as a writer, that means I’ve done my job and done it well.
By the end of this week, CGP will have published its third full-length anthology of horror and dark fiction, Stories We Tell After Midnight, Volume 2. The twenty-four stories in this anthology invite the reader into a world where a grandmother never stops telling her stories, where the winter ice and snow of a Leningrad under siege reveal the depths of human desperation, and where a grandfather follows the voice of his dead grandson into the Whisper Woods.
We live in a terrifying world–one founded on violence, exploitation and oppression. If I’m going to write about the world we’re in, I’m going to end up writing horror. And SF, to be plausible, has to either engage with this fact or talk about how it could be overcome.