THROUGH THE EYES OF THE UNDEAD

THE MARKET

• Antho: THROUGH THE EYES OF THE UNDEAD
• Editor(s): Robert Essig
  
• Pay rate: 1¢ / word
  
• Response Time: 1-2 weeks
• Deadline: When filled
  
• Description: The stories need to be written from the perspective of the undead. They don’t need to be 1st person POV, but the story needs to be told from the eyes of a zombie, or zombies. (More in guidelines)
  
• Submission Guidelines: libraryofthelivingdead.lefora.com

NOTE: Horror author D.L. Snell conducted the following interview to give writers a better idea of what the editors of this specific market are seeking; however, most editors are open to ideas outside of the preferences discussed here, as long as they fit the basic submission guidelines.

THE SCOOP
1) What authors do you enjoy and what is it about their writing that captivates you?
I enjoy Robert Bloch for his pulpy style and twist endings, Stephen King for his ability to make his characters breathe, and Bentley Little for his short fiction. I also enjoy Tim Lebbon, Ray Bradbury, and many more. (Though he was a writer of non-fiction, I have to include Hunter S. Thompson for his unbridled gonzo style.)

2) What are your favorite genres? Which of these genres would you like to see incorporated into submissions to this market?
Horror and dark fantasy are my favorites, but I'll look at anything from wild west to steampunk and science fiction. If it's through the eyes of the undead, send it.

3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
The word "ordinary" is so damn ordinary, but I like something that I can relate to, something that can potentially happen to ordinary people. But like I said before, I'll look at anything. As far as past, present, or future goes… if it's a good story, I could care less what time frame it occurs in.

4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
Fast throughout is preferable, but a good story can stand alone regardless of its pacing.

5) What types of characters appeal to you the most? Any examples?
I like believable characters, like people you've known. I like characters with normal problems, emotions and fears. That's not to say extraordinary people aren't welcome; I've known many very extraordinary people.

6) What is your policy for vulgarity and sexual content? (Question by Ralph Robert Moore)
As long as it works with the story and isn't there for the sake of senseless exploit, I'm fine with it.

7) Horror and violence can be blatant or suggestive. Which one do you prefer and why?
Suggestive more often than not is preferable because it builds good tension, but I don't shy away from a guts n' bloody good time.

8) In fiction and in life, what do you find most horrific?
Politics. Wait, no, I mean…well, it sounds clichéd, but the unknown is very frightening, as well as something invading my mind. That's the only true secret place we have, and if something or someone could get in there I would be sucking on the double barrel in a heartbeat.

9) In general, do you prefer downbeat or upbeat endings?
Downbeat. Upbeat can work, but is often too sappy.

10) What are the top three things submitters to this market should avoid?

1. Zombies roaming around without a plot
2. Sex and gore just because you like sex and gore (make sure it has something to do with the plot)
3. Overuse of words (make every word count)

11) What commonalities are among the stories you've rejected? Is there a particular aspect authors seem to get wrong? (Question by Martel)
I've rejected several stories that weren't told through the perspective of a zombie or zombies. Some of them have been so damn good that I wanted to accept them, but couldn't.

12) If you reject a story, how open are you to a revised version, or do you only want revisions upon request? (Question by Martel)
If I want a re-write I'll request it.

13) Describe a story you’ve recently accepted or short-listed. What made it stand out from the slush pile?
I just accepted a wild-west story and another tale about zombies dealing with their addiction to human flesh. They were just very different from everything else.

14) What trait are you seeking most in submissions to this market?
Something that strays far from the average zombie story. Something unlike Night of the Living Dead. It's a great movie, but I think we've all read and seen that story enough.

15) Any last advice for submitters to this market?
Make sure the story is told through the perspective of the undead. That's of utmost importance. When in doubt, send it out. The worst I can do is reject it.

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For more scoops, go to marketscoops.blogspot.com.

D.L. Snell writes with Permuted Press and Richard Finney. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. Snell's zombie/vampire novel was also Tomoviewed once and he felt honored. You can shoot D.L. Snell in the head at www.exit66.net.

This article may be freely reprinted in any e-zine, newsletter, newspaper, magazine, website, etc. as long as all links and this message remain intact, as well as Snell's byline and bio. The formatting may be adjusted to fit the venue, but the content of the article must not be altered without written permission from D.L. Snell.

Shock Totem

THE MARKET

• Zine: Shock Totem
• Editor(s): K. Allen Wood, John Boden, & Nick Contor (interview with K. Allen Wood)
  
• Pay rate: 5¢ / word upon publication
  
• Response Time: 2 months
• Description: We consider original, unpublished stories within the confines of dark fantasy and horror—mystery, suspense, supernatural, morbid humor, fantasy, etc. But the stories must have a clear horror element. (More in guidelines)
  
• Submission Guidelines: www.shocktotem.com

NOTE: Horror author D.L. Snell conducted the following interview to give writers a better idea of what the editors of this specific market are seeking; however, most editors are open to ideas outside of the preferences discussed here, as long as they fit the basic submission guidelines.

THE SCOOP
1) What authors do you enjoy and what is it about their writing that captivates you?
I am very much a new-school kind of reader. The style of early horror writers—and yes, this includes the likes of Poe and Blackwood and Lovecraft—often makes me cross-eyed. I appreciate the legacy of their work, of course, but it's not often that I can truly immerse myself into their stories. And I've tried countless times.

I like Dean Koontz and Stephen King, Peter Straub, Clive Barker, and hell, I dig John Saul too (even if he's been re-writing the same story nearly his entire career). But horror isn't the only thing I read. I love Ken Follett and Boris Starling, Terry Brooks and R.A. Salvatore, George R.R. Martin, Naomi Novik, and tons more.

My tastes are very broad, which is why I can't pinpoint one particular thing that captivates me about their writing besides this: the story. To me, the most important thing is not the author; it's whether or not he or she can tell a great story. It's why so many people enjoy Dan Brown. He's not a great writer, as we all know, but he's a hell of a storyteller. Too many people forget how important that is. Of course, a good amount of writing skill is necessary as well.

So that's what I dig. Great stories. The author really is unimportant.

2) What are your favorite genres? Which of these genres would you like to see incorporated into submissions to this market?
Well, horror is definitely my favorite. It's where I first discovered my love of reading. In particular, Dean Koontz's Lightning. Although I'm not sure that's even a horror novel, but it did get me reading his other books. As I got older, I began to broaden my horizon a bit, reading thrillers and mysteries, crime novels, fantasy.

For Shock Totem, I think we could incorporate all these styles. In our first issue, we have a story by Pam Wallace ("Below the Surface") that is very much a fantasy tale. It's dark fantasy, however, so it works for us. Take away that element and it would be a straight-up fantasy story which we would have had no place for.

Anything can be horror; it just needs to tap into the right emotions. And some would argue that horror is more an emotion than a genre, if it's a genre at all.

3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
The short answer is medieval or historical settings. But those aren't things many writers can tackle. So touching upon the answer I gave for the first question, I think it really depends on the story. Obviously I need to be able to relate to the setting in some manner; if something is so region specific it excludes people who're unfamiliar with that area, that won't work for me. But if the story is written well, I can put myself anywhere.

4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
Probably a little of both. Ebb and flow, you know. But it also depends on the length of the story. Short stories generally need a faster pace than a novel. When a story is only ten pages long, too much ebb—or all ebb, which countless stories suffer from—makes it a chore to read. When nothing has happened by page seven (if I've been patient enough to read that far), I'm not a happy reader. I'm more forgiving of this, as most people are, with a novel.

5) What types of characters appeal to you the most? Any examples?
I like realistic characters. Who doesn't, right? What I mean is, they have to act appropriately to whatever situation they're in. If a character is running down a hallway from a killer who's five feet behind her, she's not going to notice dust on the picture frames on the wall, or a nickel on the floor by the radiator, or reflect on how the wallpaper doesn't match the carpet. But a lot of writers will write a character this way, and it's always struck me as unrealistic. Is that what you'd be thinking about when running from a killer?

6) What is your policy for vulgarity and sexual content? (Question by Ralph Robert Moore)
It has to be appropriate to the story. If there's a baby in a post-apocalyptic story, don't just have it killed or eaten at the end for the sake of shock value or "horror." It's cheesy—and it's done all the damn time!

However, if it's appropriate, eat the hell out of that baby.

7) Horror and violence can be blatant or suggestive. Which one do you prefer and why?
Suggestive works best, usually. Let the readers do the math. Show them the shadows, and let them work out the rest. It makes the story more personal and allows their own icy fears and emotions to worm through their veins. The scariest stories are those that never shine the spotlight too bright.

Then again, in the hands of a great writer, like Jack Ketchum, blatancy can be very powerful.

8) In fiction and in life, what do you find most horrific?
In fiction, probably the stuff that would seem impossible on paper but is very possible in reality; the sort of stories that any one of us could be thrust into at any time.

In life, I find humanity horrifying.

9) In general, do you prefer downbeat or upbeat endings?
Whatever fits the story. One thing that has always bugged me about Koontz is that he loves the happy ending (cue massage parlor joke). Well, in my world, that's not so common. John Saul, on the other hand, loves to give you that upbeat ending...for a second. As soon as you think the main character made it—WHAM! Dead.

In that respect, I probably dig the downbeat ending more, just because it's much more realistic.

10) What are the top three things submitters to this market should avoid?
In light of recent events, I'd suggest not sending us a plagiarized Stephen King story. Or any stolen work, for that matter—haha. Beyond that, we're pretty open to anything, as long as it's within our guidelines and it's not blatant commentary in the guise of fiction. Or fan fiction. Please don't do that.

Just be an honest writer. It goes a long way.

11) What commonalities are among the stories you've rejected? Is there a particular aspect authors seem to get wrong? (Question by Martel)
We accept stories that we all dig. We're readers, first and foremost. The common thread running through our rejections is that we simply weren't collectively excited about them. At least most of us. Majority rules at Shock Totem. We've all had to wave goodbye to stories that some of us, but not enough of us, loved.

I think the main thing most writers get wrong is that they write for other people and not for themselves. It's not the readers' story until it's in their hands. Before that, it's your story. Too many authors write for the heart and not from it.

12) If you reject a story, how open are you to a revised version, or do you only want revisions upon request? (Question by Martel)
We're not open to revisions unless we request them. We read so many submissions it would be hard for us to even see the changes unless we specifically asked for them.

13) Describe a story you’ve recently accepted or short-listed. What made it stand out from the slush pile?
We just accepted a story called "Sweepers." It's a flash piece, at 1,000 words, but it packs the punch of a much longer story. The writing is solid, of course. It's very visual, but subtle as well. It's a story that has that suggestive element I mentioned above. It shows us the shadows, but never fully reveals their true nature.

14) What trait are you seeking most in submissions to this market?
I'd say originality, but that's overrated. When a writer strains his eyes looking for originality, he blinds himself to the art of just writing a good story. Readers want good stories. Of course, originality is nothing to be shunned; it's simply too elusive to be chased down and caught. It'll come when it's good and ready.

A writer looking to get into Shock Totem should just sit down and write a good story. Hell, a great story. Let it flow unbidden, and be honest with it.

15) Any last advice for submitters to this market?
What I said above. Be honest. Write from the heart, not for it.

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For more scoops, go to marketscoops.blogspot.com.

D.L. Snell writes with Permuted Press and Richard Finney. He edited Dr. Kim Paffenroth twice, John Dies at the End once, and provided a constructive critique to Joe McKinney on his next major novel after Dead City. Snell's zombie/vampire novel was also Tomoviewed once and he felt honored. You can shoot D.L. Snell in the head at www.exit66.net.

This article may be freely reprinted in any e-zine, newsletter, newspaper, magazine, website, etc. as long as all links and this message remain intact, as well as Snell's byline and bio. The formatting may be adjusted to fit the venue, but the content of the article must not be altered without written permission from D.L. Snell.

Necrotic Tissue

THE MARKET

• Magazine: Necrotic Tissue
• Editor(s): Paige McCoy (interview with publisher Scott McCoy)
  
• Pay rate: .01 cent a word + a Necrotic Tissue T-Shirt and .05 cents (Pro Pay) for the best story of each submission period.
  
• Response Time: Four weeks
• Description: We are into horror, both speculative and psychological. We assume all stories submitted are fictional, so if they aren't, don't ever tell us. Any cross over genres with a strong horror element will be considered. Dark humor, that is done well, (how is that for subjective?) is always appreciated. (More in guidelines)
  
• Submission Guidelines: www.necrotictissue.com

NOTE: Horror author D.L. Snell conducted the following interview to give writers a better idea of what the editors of this specific market are seeking; however, most editors are open to ideas outside of the preferences discussed here, as long as they fit the basic submission guidelines.

THE SCOOP
1) What authors do you enjoy and what is it about their writing that captivates you?
Until about two years ago, I had no idea how many quality small publishing houses there were. It still blows my mind how few people who love genre fiction are aware. My pat answer would have been King, Straub, Koontz and McCammon. I still love to read all of them, but I focus most of my book budget on Piccirilli, Keene, Waggoner, Tidhar and Russell.

Each writer is different in style and premise, yet they are all great storytellers who develop strong believable characters and put them in otherwise unbelievable situations. Even better, they sometimes create a character that shouldn't work and yet they make them seem normal.

I no longer have to wait months or years for my next horror fix with so many talented writers. Also, only within the last three years have I learned to appreciate short stories. I used to want only big ol' books that I could escape into for a few days, at least. I guess with age comes patience and an appreciation for variety.

2) What are your favorite genres? Which of these genres would you like to see incorporated into submissions to this market?
I like all flavors of horror and sci-fi, but less and less fantasy. The first few "real" books I read as a child were fantasy, but there is a limit to how many unicorns I can handle.

I think fantasy is the hardest to blend into a horror story, or at least those stories appeal less to me than others. The beauty of horror is that it can darken any genre. Necrotic Tissue does like a good sci-fi/horror mix and also dark humor.

3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
Ordinary settings made extraordinary appeal the most. A dangerous place, where one wrong turn can take you sideways to a nasty place. Present is the most comfortable for me and the easiest to pull off, but I'm a sucker for a story set in the past.

4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
I regularly claim to not be an action junkie, yet I continue to select stories that build a fast pace or are fast throughout. If it is done well, I really like a fast opening with a slightly slower middle to develop the character, then a race for the finish. This is hard to pull off and it is easy to flounder in the middle, but when done well, it's a great thing.

5) What type of characters appeals to you the most? Any examples?
I'm a sucker for a regular person thrust into an unusual circumstance. It may sound cliché, but as a reader and a regular guy, I most associate with those characters. Also, since I have been through some unusual situations in the past, I prefer a character that has an edge and has an interesting history.

For a great story, it is important that the character take on the burden. There must be a choice against the darkness.

6) What is your policy for vulgarity and sexual content? (Question by Ralph Robert Moore)
Nothing too gratuitous, but if it is essential the story, then fine. We are not a young adult market; some of our stories are brutal, but with a purpose. The brutality or sexuality are not the story, but are integral to the plot or tone.

7) Horror and violence can be blatant or suggestive. Which one do you prefer and why?
Do I have to choose? It may sound like a cop-out, but I prefer suggestive to build tension followed up with a double scoop of blatant.

8) In fiction and in life, what do you find most horrific?
In fiction, it has to be situations in which there appears to be hope, but then that hope is dashed. So the stripping away of hope and the final realization that death is certain, but not yet arrived.

In life what I find most horrific is the possibility that I would die in a hospital bed after months of "treatment." The complete lack of control and, again, the slow diminishment of hope over time to an inevitable conclusion.

9) What are the top three things submitters to this market should avoid?

1. Abuse. It's horror and some killing happens, but depictions of torturing children are a hard sell.
2. First person past tense stories where the protagonist dies at the end. I know this has been done by some well-known authors, but it irks me. If the story ends that way, go third person.
3. Unicorns. This is not a challenge, but I just can't picture a good horror story with unicorns in it, and yet I get at least one every submission period.

10) What commonalities are among the stories you've rejected? Is there a particular aspect authors seem to get wrong? (Question by Martel)
Very slow beginning. If I hit page three and there is no sense of dread or building of tension, then I don't want it. Short stories need to grab the reader from the first paragraph preferably.

Dead horses. By this I mean, don't beat us over the head. I get a lot of stories where the writer uses six to ten paragraphs to describe in different ways that the antagonist or protagonist is bad, mean, smart etc. This goes beyond "show, don't tell"; you can over-show too.

11) If you reject a story, how open are you to a revised version, or do you only want revisions upon request? (Question by Martel)
Rarely in the same submission period. If we think it is a good story that just needs some tweaking, we may say that. We don't ask for rewrites anymore, but we are willing to see one in our next submission period. If the story is really loose and we just disagree on a couple of points, we will send a conditional acceptance. If it needs overhauling to match our tastes, we want the writer to think about it before expending the effort. After all, the rewrite may still not work for us, but the original may work for several other markets. If we think the story is really well done and just not our style, we usually say that. We don't blow smoke; if we say that we mean it, and we hope the writer can find a home for it.

12) What trait are you seeking most in submissions to this market?
Courage. IF you are going to tell a tale of horror, don't shy away from the premise that you have presented. The story must be true to itself, so if you are uncomfortable with the premise or the genre, write something you are comfortable with.

13) Any last advice for submitters to this market?
Make sure your story is the right length. There are some 100-word premises, some 2,000, 5,000 and some that are novel length. One of the biggest mistakes we see are stories that are too condensed or too stretched for the premise.

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For more scoops, go to marketscoops.blogspot.com.

D.L. Snell is an Affiliate member of the Horror Writers Association, a graduate of Pacific University's Creative Writing program, and an editor for Permuted Press. Snell's first novel, ROSES OF BLOOD ON BARBWIRE VINES, pits vampires against mutating zombies in a post-apocalyptic setting. David Moody, author of the Autumn series, calls it "violent and visceral...beautiful and erotic," and Jonathan Maberry, author of Ghost Road Blues, says, "[I]t has all the ingredients needed to satisfy even the most jaded fan of horror fiction." For more information and to read sample chapters, visit Exit66.net.

This article may be freely reprinted in any e-zine, newsletter, newspaper, magazine, website, etc. as long as all links and this message remain intact, as well as Snell's byline and bio. The formatting may be adjusted to fit the venue, but the content of the article must not be altered without written permission from D.L. Snell.

Shroud Magazine

THE MARKET

• Zine: Shroud Magazine
• Editor(s): Tim Deal
• Pay rate: 2 - 5¢ / word
• Response Time: 1 - 2 months
• Description: Shroud Magazine publishes speculative fiction with a dark focus. In addition, Shroud features original art, film, music reviews, and articles that illuminate the thin veil between reality and fantasy. (More in guidelines)
  
• Submission Guidelines: www.shroudmagazine.com

NOTE: Horror author D.L. Snell conducted the following interview to give writers a better idea of what the editors of this specific market are seeking; however, most editors are open to ideas outside of the preferences discussed here, as long as they fit the basic submission guidelines.

THE SCOOP

1) What authors do you enjoy and what is it about their writing that captivates you?
I am big fan of the mythic horror of Machen, Derleth, Lovecraft, as well as the masters of the last twenty years--F. Paul Wilson, Robert R. McCammon, King, Straub, and Koontz. However, there is a huge resurgence in modern horror that appeals to me. I dig Brian Keene because he creates characters that you care about, I love Tom Piccirilli’s use of language, his prose, I am captivated by Braunbeck’s settings and Nate Kenyon’s sense of place. I just read Joseph D’Lacey’s “Meat” and I am blow away by how real he made everything feel, and by the same token, I liked Jeff Strand’s “Mandible” because he took a far-fetched concept (“plus-sized ants”) and made it believable.

2) What are your favorite genres? Which of these genres would you like to see incorporated into submissions to this market?
As I said, I love mythic horror. I like the idea that we exist near a thin veil that separates us from eons of rich supernatural history. However, I am also a big fan of pulp and creature horror, as well as dark literature.

3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
That’s an easy one. I seldom budge from this: give me a present day ordinary setting that you know intimately, and I’ll be hooked. I want the setting to be a character as well. It does not have to be boring, but it has to be believable.

4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
I like Brian Keene’s novels because the pacing is fast and furious and it keeps you engaged. However, I love a good build up filled with eloquent descriptions à la Lovecraft. The most important thing is making sure the pacing sucks the readers in initially and then helps them build a relationship with the characters.

5) What type of characters appeal to you the most? Any examples?
I am drawn to the everyman and to flawed characters. I love to see average everyday Joes find themselves in elaborate and horrifying situations. Also, I dig characters that have weaknesses, flaws, complexity--nuances. If a writer spends time developing their characters, then as readers we will care about everything they encounter, be it the annoyance of a drive-through order gone awry, or the appearance of Nyarlathotep, the Crawling Chaos, in the character’s bathroom.

6) What is your policy for vulgarity and sexual content? (Question by Ralph Robert Moore)
I know this is the standard answer but it has to work within the context of the story. If it is even slightly gratuitous, then I’ll give it the boot. There are a number of publishing companies that make their dollar off of shock, but we are not one of them. If it make sense within the context of the story and the characters, then it’s fine, we’ll go the whole way with you.

7) Horror and violence can be blatant or suggestive. Which one do you prefer and why?
I appreciate subtlety, yet I can also appreciate horror “in your face.” It all depends upon the characters and the story.

8) In fiction and in life, what do you find most horrific?
Life. Especially the last eight years of it.

9) What are the top three things submitters to this market should avoid?
Fucking vampires, serial killers, and post-apocalyptic zombie stories. I love all of these things, but they’re old.

10) What commonalities are among the stories you've rejected? Is there a particular aspect authors seem to get wrong? (Question by Martel)
I get tired of stories told in first-person. It just does not work for everyone and I feel it’s a bit self-indulgent. It is not an automatic rejection, and in some cases, like the Northern Haunts anthology, I have requested it.

11) If you reject a story, how open are you to a revised version, or do you only want revisions upon request? (Question by Martel)
I’ll ask for rewrites.

12) What trait are you seeking most in submissions to this market?
Originality, intelligence, and honesty to the point of vulnerability.

13) Any last advice for submitters to this market?
Write what you know and do not hold back.

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For more scoops, go to marketscoops.blogspot.com.

D.L. Snell is an Affiliate member of the Horror Writers Association, a graduate of Pacific University's Creative Writing program, and an editor for Permuted Press. Snell's first novel, ROSES OF BLOOD ON BARBWIRE VINES, pits vampires against mutating zombies in a post-apocalyptic setting. David Moody, author of the Autumn series, calls it "violent and visceral...beautiful and erotic," and Jonathan Maberry, author of Ghost Road Blues, says, "[I]t has all the ingredients needed to satisfy even the most jaded fan of horror fiction." For more information and to read sample chapters, visit Exit66.net.

This article may be freely reprinted in any e-zine, newsletter, newspaper, magazine, website, etc. as long as all links and this message remain intact, as well as Snell's byline and bio. The formatting may be adjusted to fit the venue, but the content of the article must not be altered without written permission from D.L. Snell.

Dark Jesters

THE MARKET

• Anthology: Dark Jesters
• Editor(s): Nick Cato & L.L. Soares
• Pay rate: $40 +copy
• Deadline: 30 November 2008
• Description: Novello Publishers is seeking 10 hysterical stories to fill their first trade paperback humorous horror anthology. (More in guidelines)
  
• Submission Guidelines: www.novellopublishers.com

NOTE: Horror author D.L. Snell conducted the following interview to give writers a better idea of what the editors of this specific market are seeking; however, most editors are open to ideas outside of the preferences discussed here, as long as they fit the basic submission guidelines.

THE SCOOP

1) What authors do you enjoy and what is it about their writing that captivates you?
Gary A. Braunbeck’s writing always digs deep inside me and resonates on levels I (usually) didn’t know I had. Tom Piccirilli never fails to satisfy, and his ability to write in nearly any genre fascinates me. And although at times his novels can become routine, Bentley Little’s macabre situations keep me coming back all the time. He’s been my favorite for quite a while now.

2) What are your favorite genres? Which of these genres would you like to see incorporated into submissions to this market?
Horror, comedy, and bizarro. While DARK JESTERS is a humorous horror anthology (which covers the first two genres), I also find that a surreal, strange tale told from a humorous angle can be great if done properly.

3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
I’m more into present-day stories, although I’m open to anything. One submission we received takes place in the Stone Age and it’s one of the best we’ve received so far.

4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
While I like a story that kicks into high gear from the first paragraph, I’m more concerned with DARK JESTERS that the story maintains a consistent “aura” of humor throughout. That can be done in a subtle way as well as rocket-ship style.

5) What type of characters appeal to you the most? Any examples?
The average Joe. One of the things that make Jeff Strand’s Andrew Mayhem series so good is Andrew’s just an ordinary guy who manages to find himself in insane situations. Most of his stories use similar characters. Most of his stories work!

6) What is your policy for vulgarity and sexual content? (Question by Ralph Robert Moore)
I’m not a fan of profanity, especially when it’s overused. Swearing in every sentence weakens its effect, and in humor, makes the author sound like he’s still in junior high. While I understand most people don’t share this view, I find the writer is forced to be more creative with their humor by relying on situations and ideas rather than an abundance of vulgarity (I mean, Andrew Dice Clay is funny, but after 15 minutes his shtick gets played out).

For DARK JESTERS, sex is fine depending on how it’s used: I don’t find rape funny, and if an author does I’d rather him/her not submit to this one. But a story with little to none of these two elements has a better shot (and remember, that’s MY view: my co-editor L.L. Soares is a fan of the extreme stuff, so I’m sure we’ll have to come to agreements on a couple of stories).

7) Horror and violence can be blatant or suggestive. Which one do you prefer and why?
I’ve always thought suggestive violence works wonders: I grew up in the late 70s/early 80s watching films like DAWN OF THE DEAD, FRIDAY THE 13th and all the euro rip-offs and slashers that came with (and before) them. Yet despite my love for gore (at the time), the scene in Al Pacino’s SCARFACE--where his brother is chainsawed in half--freaked me out more than any horror film (such as PIECES) that actually SHOWED the violence. That scene, to this day, is hard to watch, and you hardly see anything. I’ve read a few stories where implied violence blew my mind (such as Gary Braunbeck’s incredible short, NEED, from the CORPSE BLOSSOMS anthology; by the midpoint of the tale, when I realized what the mother was up to, I actually felt my stomach drop. That’s powerful writing).

8) In fiction and in life, what do you find most horrific?
As a parent, I can say anything dealing with children. There’s been some great novels and novellas over the last several years that deal with missing children, abused children, etc., many of which were very well done. Other than that, I live in New York, and like most other New Yorkers I have a feeling that something (whether it’s a terrorist attack or a natural disaster) is inevitable. These scenarios usually keep my eyes glued to the pages, where I hope they stay.

9) What are the top three things submitters to this market should avoid?

1. We’ve received a bunch of zombie stories the first four days of submissions, so we’re quickly becoming tired of them (although one was fantastic and will most likely make the final cut).
2. Several submissions were WAY below the 1,500 minimum word count. We’re really looking for the 2K mark, but anything from 1,500 – 2K will give the submitter a better shot.
3. About HALF of the subs were nowhere near being a humorous HORROR story: if someone sends in a humorous tale, but it’s NOT horror-oriented, it makes me wonder if the submitter even read the name of the anthology.

10) What commonalities are among the stories you've rejected? Is there a particular aspect authors seem to get wrong? (Question by Martel)
Besides the zombie thing mentioned above, most of the stories we’ve rejected felt like build-ups to bad punch lines. We’re not looking to publish an anthology of “jokes.” If anyone is interested in how humorous horror is done right, get your hands on some Joe Landsdale, Jeff Strand, or any of the authors that have been published by Novello Publishers. There are also other presses (such as Delirium and Skull Vines Press) who put out some good, funny horror.

11) If you reject a story, how open are you to a revised version, or do you only want revisions upon request? (Question by Martel)
We only want revisions if requested, but any rejected author is free to submit another story.

12) What trait are you seeking most in submissions to this market?
If you can make me and L.L. Soares laugh, you have talent (especially L.L., as he’s a part-time simian comedian). My dream is to (one day) release one of (if not THE) funniest humorous horror anthologies--whether it be this one or a future edition (we plan on making DARK JESTERS a series, possibly every two to three years). Make us laugh--make the story as funny as you can. AND keep it in a horror-story setting.

13) Any last advice for submitters to this market?
Follow the guidelines. Sounds simple, but as most editors will tell you, few people take the time to do it.

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For more scoops, go to marketscoops.blogspot.com.

D.L. Snell is an Affiliate member of the Horror Writers Association, a graduate of Pacific University's Creative Writing program, and an editor for Permuted Press. Snell's first novel, ROSES OF BLOOD ON BARBWIRE VINES, pits vampires against mutating zombies in a post-apocalyptic setting. David Moody, author of the Autumn series, calls it "violent and visceral...beautiful and erotic," and Jonathan Maberry, author of Ghost Road Blues, says, "[I]t has all the ingredients needed to satisfy even the most jaded fan of horror fiction." For more information and to read sample chapters, visit Exit66.net.

This article may be freely reprinted in any e-zine, newsletter, newspaper, magazine, website, etc. as long as all links and this message remain intact, as well as Snell's byline and bio. The formatting may be adjusted to fit the venue, but the content of the article must not be altered without written permission from D.L. Snell.

BrokenSea Audio Productions

NOT A TYPICAL SCOOP

Call for submissions from Taylor Kent, AKA The Snarky Avenger:

Recently I have been doing a lot more with the creation of both audio fiction and audio drama, and have become a member of a great amateur audio creation organization called BrokenSea Audio Productions (BSAP).

Starting 1 October 2008 we at BSAP would like to have enough audio content (Audio Drama, short story and poetry readings, etc.) to release 100 new items during the second annual BSAP Halloween podcast. Writers can submit one or two short stories, poems or other Halloween/horror-themed writings for BSAP to adapt as readings or full cast audio dramas. Here is a link to last year’s BSAP Halloween podcast.

This is a great opportunity to reach people with your work that might not have heard of you or seen anything you have published before. So if you are interested, send an email to me, Taylor Kent (snarkdogg[at]gmail.com), or to BSAP directly at exec[at]brokensea.com.

Here are the details... Please read them before you agree to anything.

BSAP cannot pay for the use of your material, but you will get full credit for your work and we will add a link to your website or wherever you like on the podcast page and in the audio as well.

All BSAP productions are produced by volunteers and no income is derived from any material on the website.

Unless requested otherwise we will use our pool of voice actors to complete readings. If you would like to read your own work and have your reading included we would be happy to work with you. The same applies to podsafe music used in each production.

All Brokensea audio files are produced under a Creative Commons License, so they can be freely distributed provided credits are intact and material is not sold. All materials remain the property of the author or copyright holder. Brokensea will only hold the audio file content under CC Licensing.

All audio files will remain freely available on our website and via the BSAP iTunes feeds.

We also provide several short audio promos for the BSAP Halloween Season, available upon request. Thirty seconds to one minute in length, the promos are perfect for Myspace pages and other promotional sites.

Please send inquiries and material for reading/production to exec[at]brokensea.com and Taylor Kent, snarkdogg[at]gmail.com.

Thanks,

--
Taylor Kent
The Snarky Avenger
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Snark Infested Waters - http://thesnarkyavenger.com
Misfit Christians Network - http://misfitchristians.net

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For more scoops, go to marketscoops.blogspot.com.

D.L. Snell is an Affiliate member of the Horror Writers Association, a graduate of Pacific University's Creative Writing program, and an editor for Permuted Press. Snell's first novel, ROSES OF BLOOD ON BARBWIRE VINES, pits vampires against mutating zombies in a post-apocalyptic setting. David Moody, author of the Autumn series, calls it "violent and visceral...beautiful and erotic," and Jonathan Maberry, author of Ghost Road Blues, says, "[I]t has all the ingredients needed to satisfy even the most jaded fan of horror fiction." For more information and to read sample chapters, visit Exit66.net.

This article may be freely reprinted in any e-zine, newsletter, newspaper, magazine, website, etc. as long as all links and this message remain intact, as well as Snell's byline and bio. The formatting may be adjusted to fit the venue, but the content of the article must not be altered without written permission from D.L. Snell.

Potter's Field 3

THE MARKET

• Publisher: Potter's Field 3
• Editor(s): Cathy Buburuz
• Pay rate: < $10 + copy
• Deadline: 31 December 2008 (est.), or when filled
  
• Response Time: about 2 weeks
• Description: Potter's Field 3 is the burial place for the indigent and the unidentified. Just about every city has one. Obviously, we're looking for works that are themed to graveyards in some way. However, it does not have to be a conventional graveyard. (More in guidelines.)
• Submission Guidelines: www.samsdotpublishing.com

NOTE: Horror author D.L. Snell conducted the following interview to give writers a better idea of what the editors of this specific market are seeking; however, most editors are open to ideas outside of the preferences discussed here, as long as they fit the basic submission guidelines.

THE SCOOP

1) What authors do you enjoy and what is it about their writing that captivates you?
One of my all-time favourite writers is F. Paul Wilson. I absolutely love every story in his Soft, and Others short story collection. He impresses me with his ability to find a unique angle or approach to every tale.

Joe R. Lansdale's horror tales about the Old West are equally fascinating. I love the movie Bubba Ho-tep, based on Lansdale's short story about Elvis and the weird goings-on in a home for seniors; it boasts a great imagination and a special gift for good old-fashioned storytelling.

When Stephen King's work focuses on events that could actually happen, he's one the world's top entertainers. Stand By Me and Delores Claiborne were stand-outs for this reader.

Not all the people I admire are well known or famous writers. I have had the good fortune as an editor to read the work of so many up-and-coming, talented writers, far too many to list in a single interview. But I will mention a few of them a little later on.

Editing Side Show: Tales of the Big Top and the Bizarre introduced me to a wide range of writers who also share my interest in things like freak shows, traveling shows, sideshows and circuses. In their bios the writers share notes about their personal experiences under the Big Top, or about why they chose to write on a particular subject. One of the reasons I insist on writers' and artists' bios for Potter's Field is because my readers and I enjoy knowing more about the participants.

Potter's Field is a success because some very gifted writers and illustrators choose to participate; people like you, Ken Goldman, Pete Mesling, Gary MacMahon, Thomas Canfield, Ed Lynske, Gary Fry, Debra Williams, S. D. Hintz, Tom Moran, Carole Hall, Lis Anselmi, Marcia Borell, Dick Starr, Jacob Parmentier, and Marge B. Simon, to name just a few.

2) What are your favorite genres? Which of these genres would you like to see incorporated into submissions to this market?
Horror fiction has always held my interest more than any other genre, but in recent years I've enjoyed reading and writing tall tales about the Wild Wild West. When I worked for Indian and Northern Affairs Canada as a communications specialist, a big part of the job was visiting the Indian reserves to take photos and write stories about Indian culture and tradition, social and economic development on Indian land, Indian treaties, and the Indian way of life. I wrote factual accounts for governmental publications, newspapers, and radio spots. During my five years with the feds I attended powwows and other special events, and had the good fortune to interview Indian chiefs, politicians, medicine men, historians, and Indian spiritual leaders.

Since that time, I've gained a special interest in the history, culture, spirituality, and traditions of First Nations and settlers of the early west. I also visit the old western town of Deadwood, South Dakota at least once a year. In the town's Mount Moriah Cemetery (commonly known as Boot Hill), I've visited the graves of such notables as Wild Bill Hickok, Seth Bullock (the town's Sheriff), Potato Creek Johnny, and Calamity Jane. Western horror fiction is something I truly enjoy.

3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
As I said before, the Wild Wild West is my favourite historical locale, but I love tales set in places like Louisiana, Mexico, Japan, China, or any other place that isn't the norm for horror stories. I'd love to receive stories for Potter's Field that take place in cemeteries of the unusual. I especially enjoy contemporary and historical horror fiction, and believable horror fiction stands the best chance with me. While I enjoy some science fiction, it's not really my thing, but I'd never pass on a great story.

4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
Fast paced fiction is my preference, and I'm more apt to take a story where the opening sentence grabs my attention and won't let go. The action or the fascination should commence within the first three paragraphs. It's not mandatory, but it certainly works for me. A writer I worked with recently sent a story that inspired complete and total claustrophobia in me--I had to buy his story.

5) What type of characters appeal to you the most? Any examples?
Colourful and fascinating characters are always the key to a successful and entertaining story. I'm fond of stories about freaks, prostitutes, the misfortunate, the elderly, the insane, medicine men and women, folks in the backwoods, trailer trash, potionists, anyone who's faced with an unusual situation, circumstance, or dilemma. Simply put, I'd rather read a story about a medicine woman living in the backwoods, than one about a used car salesman in Detroit. I think it's just a better place for a writer to start, though I'm sure there have been great stories written about used car salesmen in Michigan (LOL).

6) Horror and violence can be blatant or suggestive. Which one do you prefer and why?
I'll confess to reading my fair share of stories about violence, great horror fiction that had a huge impact on me. But at the same time, that kind of well written, and tastefully handled horror fiction is rare, so I don't welcome it for Champagne Shivers magazine or for the Potter's Field anthologies. The reason I don't invite it is that most of the violent fiction I have received by way of submissions has been written by amateurs who don't quite know how to handle things like rape, torture or abuse. It takes a special talent to write about those in a way that can be respected and appreciated.

7) In fiction and in life, what do you find most horrific?
Reality scares me, the things that happen in our everyday lives, like losing a loved one or fearing for a child. I like horror fiction that's understated, but I also enjoy fiction that cuts to the bone. My own horror stories are often inspired by newspaper articles about tragedy because most tragedies are avoidable or preventable. Because it's fiction, we as writers can play and experiment with it, bend and twist it so it has an edge.

8) What are the top three things submitters to this market should avoid?

1. Don't send stories about vampires, werewolves, rapists, or druggies. Instead, send stories with believable characters in highly unusual situations. I like strange characters with idiosyncrasies, unusual habits or circumstance.
2. Avoid the kind of language that would gag a maggot. Yes, there are stories that require the kind of language you wouldn't use in front of your grandma, but keep it to a minimum or avoid it altogether when submitting to me.
3. A story with more than a dozen typos or misspelled words (or written in inconsistent tense) will likely be rejected because that tells me the writer expects me to work on the rewrite. And I despise rewrites. Listen up: Whenever writers email a manuscript to an editor, they should email a copy to themselves. That way, if the story arrives with no paragraph distinction, the writer can fix the problem and resubmit without the editor having to notify the writer. About every tenth or twelfth manuscript I receive arrives without paragraph indents or a line between paragraphs. If you want to avoid the problems associated with formatting, open a Hotmail account. Hotmail is free, easy to use, and it can be accessed from anywhere in the world. I love Hotmail submissions.

9) What commonalities are among the stories you've rejected? Is there a particular aspect authors seem to get wrong? (Question by Martel)
The majority of the stories I decline contain one or more the following flaws: Far too many typos and misspelled words or inconsistency in tense

1. They aren't written in the third person (which is my personal preference)
2. They're stories that have been told before, and the only thing that's changed is the name of the main character or the location.
3. I constantly reject stories that have nothing to do with the Potter's Field theme. It's annoying to read a 6,000-word story only to discover that it has very little, or absolutely nothing to do with boneyards or the dearly departed. Look people, I realize there are very few markets for long fiction, but that shouldn't inspire you to submit to Potter's Field if your story isn't in harmony with the theme.

10) If you reject a story, how open are you to a revised version, or do you only want revisions upon request? (Question by Martel)
I often point out the flaws in manuscripts so the writer will have a clear understanding that the story needs work. But, damn, if I want a rewrite, I'll ask for it. It's such a major waste of time when you decline a manuscript, offer comments and suggestions, then the writer approaches you again and asks if they can resubmit. Trust me, if an editor wants a rewrite, they will ask for it. If they don't ask, assume that your story has been declined. I make it crystal-clear in my responses, yet you'd be surprised how many writers email back to say they submitted the wrong draft of their story, or to ask if I could please give the corrected version a look-see. Sorry, but I prefer to read a poorly written manuscript just once. When a manuscript requires minor touch-ups, I'm more than willing to work with the writer towards the common goal of perfection, but I'm not into major rewrites, thank you very much.

11) What trait are you seeking most in submissions to this market?
I want stories and art that are high in entertainment.

12) Any last advice for submitters to this market?
Send me a story that's never been told before, a believable tale with unforgettable characters in a fascinating situation or unusual setting.

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For more scoops, go to marketscoops.blogspot.com.

D.L. Snell is an Affiliate member of the Horror Writers Association, a graduate of Pacific University's Creative Writing program, and an editor for Permuted Press. Snell's first novel, ROSES OF BLOOD ON BARBWIRE VINES, pits vampires against mutating zombies in a post-apocalyptic setting. David Moody, author of the Autumn series, calls it "violent and visceral...beautiful and erotic," and Jonathan Maberry, author of Ghost Road Blues, says, "[I]t has all the ingredients needed to satisfy even the most jaded fan of horror fiction." For more information and to read sample chapters, visit Exit66.net.

This article may be freely reprinted in any e-zine, newsletter, newspaper, magazine, website, etc. as long as all links and this message remain intact, as well as Snell's byline and bio. The formatting may be adjusted to fit the venue, but the content of the article must not be altered without written permission from D.L. Snell.