Author Archives: gwendolynkiste

Spring 2019 Updates: Appearances, New Releases, & Maidens Who Rust!

It’s been a while since I’ve posted any blog updates about my goings-on, so I figured I should probably use this site for that very task. 2019 has already ushered in many new and exciting developments, so let’s dive right in, shall we?

THE RUST MAIDENS

The Rust MaidensEveryone who follows my social media already knows this, but since I haven’t announced it yet on the blog, here goes: The Rust Maidens is an award nominee! And twice over too!

First, back in February, the Bram Stoker Award nominations were announced, and The Rust Maidens made the cut for Superior Achievement in a First Novel. Then just last week, the book was nominated for a This Is Horror Award in the category of Novel of the Year. Seriously. These are real things that happened! The Stokers will be announced on May 1th in Grand Rapids, and you can still vote for the This Is Horror Awards over here!

It’s all cliche and whatnot to talk about how much this means to me, but let me say it again anyhow: it absolutely means the world to me that this book has found an audience. So thank you to everyone who’s read, reviewed, and supported The Rust Maidens. I can’t fully express my deep gratitude to all of you. Having a first novel has been a wild and humbling ride, without a doubt.

NIGHTSCAPE PRESS

Now for another first! My very first novelette will be coming out later this year! The Invention of Ghosts is a surreal exploration of friendship, the occult, and what it means to be haunted. As part of Nightscape Press’s Charitable Chapbook series, the paperback version will feature original illustrations and will have a highly limited run, with one-third of all sales going to the National Aviary, which is among my favorite places on Earth. The release for The Invention of Ghosts is slated for November 26th, and a pre-order page should be up shortly. For the Charitable Chapbook series, each paperback copy goes for $30 while ebooks are $5.

The Yellow Wallpaper Classic Chapbook(Also, there had been some online discussion recently about the breakdown of the chapbook pricing, so feel free to check that out over here if you’ve got any questions at all. This is a truly wonderful project from Nightscape editors Robert and Jennifer Wilson, and it’s an honor to be involved.)

But that’s not the only thing I’m doing with Nightscape Press this year. I’m beyond thrilled to have written the introduction for The Yellow Wallpaper, which is being released through their Classic Chapbook series. And check out that glorious cover by the talented Luke Spooner! It’s almost too beautiful to believe. *swoons* That pre-order page is up now, so please support the incredible work that Nightscape is doing, and consider picking up a copy!

APPEARANCES

Now onward to places where you can see me hanging out in the shadows! From May 9th to May 11th, I’ll be in Grand Rapids for my second StokerCon! As always, I’m really looking forward to this event. I’ll be posting my full schedule here at the blog in the next week or two, so check back to find out where I’ll be and what I’ll be doing. It’s sure to be a fabulous time!

And in case you didn’t catch my many Facebook and Twitter posts about it last month, I also appeared in Atlanta on March 22nd and 23rd at The Outer Dark Symposium. By far, this was one of the best times I’ve ever had at a convention. Anya Martin and Scott Nicolay are doing an awesome job of fostering an inclusive and welcoming community in weird fiction and horror, and it was so cool to be a guest at the event. Over the coming months, they’re compiling all the programming from the symposium on The Outer Dark podcast, and you can check out the first episode now, which features a panel I moderated on weird fiction and nature.

If you didn’t make it to The Outer Dark—and can’t make it to StokerCon either—and you still want to hang out with me, I’m planning one or two additional appearances this year, so stay tuned for more details on those in the coming months!

RECENT RELEASES

Okay, one last section, and then I’ll be done with updates! So far this year, I’ve had a couple new short stories and two nonfiction articles released!

Gorgon: Stories of EmergenceIn the fiction department, my dark fantasy tale, “Tips for How to Deal With Your Daughter When She’s Become a Monster,” made its debut in the phenomenal anthology, Gorgon: Stories of Emergence, edited by the amazing Sarah Read at Pantheon. Then last month, my Gothic trope-twisting story, “The Woman Out of the Attic,” appeared in the beautiful Haunted House Short Stories anthology from Flame Tree Press. I’m very proud of both these stories, and I look forward to hearing from readers as copies make their way into the world!

Finally, in nonfiction, my article, “Magic, Madness, and Women Who Creep: The Power of Individuality in the Work of Charlotte Perkins Gilman,” appears in the new issue of Vastarien. This article was such a joy to write. I got to discuss one of the coolest classic female horror authors, and I even managed to work in a reference to Literary Witches, a beautiful book that I highly recommend.

And if you’re still in the mood for a little more nonfiction, then please do check out my article, “Violence and Violins: 60 Years of Psycho,” in the recent issue of Unnerving Magazine. It was also a lot of fun to write, so hopefully, it will be a fun one to read as well. After all, it’s about time I make use of all that Hitchcock knowledge I amassed as a kid.

So those are all my latest updates for the moment. Busy days over here, and as always, expect more interviews and Submission Roundups in the weeks to come. Never a dull moment in the life of a writer, that’s for sure!

Happy reading!

Springtime Stories: Submission Roundup for April 2019

Welcome back for this month’s Submission Roundup! Another great month for submission calls, so if you’ve got a story looking for a home, maybe you’ll find a place to send your words in the links below.

But first, a word from your blog sponsor (as in, me): I am not a representative for any of these markets; I’m merely the messenger. For questions on any of these calls, please contact the respective publication. And with that, onward with this month’s Submission Roundup!

Submission Roundup

Non-Binary Review
Payment: .01/word for fiction and nonfiction; $10/flat for poetry
Length: up to 5,000 words for fiction and nonfiction; up to 3 pages for poetry
Deadline: April 22nd, 2019
What They Want: The current issue of Non-Binary Review is seeking submissions inspired by the work of H.G. Wells.
Find the details here.

Hatchet Job
Payment: .02/word for reprints; .04/word for original fiction (query first)
Length: up to 10,000 words
Deadline: April 30th, 2019
What They Want: A horror anthology with stories about axe murderers. The editor is seeking primarily reprints, though original fiction might be accepted, providing you query first.
Find the details here.

HWA 2019 Poetry Showcase
Payment: $5/flat
Length: no more than 35 lines
Deadline: April 30th, 2019
What They Want: Open to HWA members only, this year’s Poetry Showcase is edited by Stephanie M. Wytovich, Cynthia Pelayo, and Christa Carmen. They’re seeking all varieties of horror poetry.
Find the details here.

Nox Pareidolia
Payment: .06/word
Length: up to 6,000 words
Deadline: April 30th, 2019 (June 30th for black authors only)
What They Want: Nightscape Press is seeking ambiguous weird and horror fiction in the style of Robert Aickman.
Find the details here.

Tiny Nightmares
Payment: $100/flat
Length: up to 1,200 words
Deadline: May 1st, 2019
What They Want: Open to very short horror stories that push the boundaries of the genre.
Find the details here.

Across the Universe anthology
Payment: $200/flat
Length: 1,000 to 4,000 words
Deadline: June 14th, 2019
What They Want: Speculative fiction stories about the Beatles.
Find the details here.

Happy submitting!

Love and Death: Interview with Serena Jayne

Welcome back for our first interview of April! Today, I’m thrilled to spotlight Serena Jayne. Serena is the author of Kiss Me Dead along with numerous short stories, and she’s also a frequent reviewer and incredible supporter of her fellow writers.

Recently, Serena and I discussed her new book as well as her inspiration and her future writing plans.

A couple icebreakers to start: when did you first decide to become a writer, and who are some of your favorite authors?

Serena JayneReading has always been a passion for me. I dreamed of becoming a writer, but pursued science, while taking every single writing class offered in college. After a few years doing laboratory work, I turned my focus to technical writing and eventually management. By 2009, I was burned out. After too many moments like the one in Eat Pray Love where Elizabeth Gilbert describes sobbing and lamenting the course of her life on her bathroom floor at three AM, I knew I needed to make some changes. With a new determination to follow my dreams, I sought out online writing communities, joined the Romance Writers of America, and enrolled in Seton Hill University’s MFA program in Writing Popular Fiction. I met a bunch of phenomenally talented people whose belief in me helped me foster belief in myself.

Some of my favorite authors include Jim Butcher, Laurel K. Hamilton, Randall Silvis, Kresley Cole, Don Winslow, Rainbow Rowell, Blake Crouch, and Sara Wolf. I loved your short story collection, And Her Smile Will Untether the Universe, and your novel, The Rust Maidens. Your other works are at the top of my To-Be-Read list.

Congratulations on your new book, Kiss Me Dead! What was the inspiration behind this story?

I took an outstanding intensive course on using tarot cards in writing taught by Devon Ellington. I drew the death card for my protagonist and my reaper hero was born. My draw for the story included a number of major arcana cards, including the magician, the star, and the hanged man. I expanded the story by adding in elements from Greek Mythology and Death’s personal assistant.

I absolutely love Matt Andrew’s art for your cover! What can you tell us about how that cover artwork developed?

Kiss Me DeadAs a huge fan of Matt’s art and writing, I was thrilled when he agreed to do the cover. His attention to detail makes his work shine. We both love retro-style pinups and his vision brought the elements of horror and romance together in a fun and sexy way. He absolutely captured the heart of the story with his stunning artwork. I couldn’t be more pleased.

Your work spans numerous genres, including horror, dark fantasy, noir, mystery, and romance. Do you have different approaches to a story depending on which genre you’re writing?

The genres tend to put me in different emotional headspaces. With romance, I know the main characters are going to end up in a good place. With noir, horror and other dark genres, happy ever afters aren’t necessarily in the cards. One of my professors at Seton Hill taught me that paranormal/dark romance is a subgenre of horror. Everything is connected and life is a mix of all the things—and I want to write about them all.

With all my stories, I tend to come up with the situation or the protagonist or some other seed and let it stew in my mind until I know enough to get started. My process tends to be different depending on the length of the piece, rather than on the genre. For shorter works, I’ll brainstorm a bit and then get writing. With longer works, I need to plot more. It’s not enough to have a beginning and end. I need a more detailed map or else I tend to get lost. My go to move when I am stuck is to hop in the shower. There’s nothing like some hot water and suds to get my subconscious cooking.

Neon DruidIn addition to your fiction work, you’re also a reviewer. What inspired you to become a reviewer, and has it changed your approach to fiction writing at all?

Reviews are crucial to me, both as a reader and as an author. I’ve one-clicked books based on reviews or recommendations from friends. Book seller algorithms make books with numerous reviews easier to discover. A friend got me hooked on NetGalley. Advanced reader copies are the best. I wouldn’t say it’s changed the way I write fiction, but becoming a reviewer has taught me the importance of blurbs. When I find a book on NetGalley that looks interesting, if the blurb doesn’t grab me, I won’t request it.

What’s your favorite part of the writing process: crafting dialogue, developing characters, or creating a sense of setting?

My favorite part of the writing process is developing characters and those precious ah-ha moments when things start to gel. I’ve found each story to be unique. Some are easier to write, while others need to be scraped out of my brain and heart in tiny, bloody chunks.

What’s next for you?

I’m working on several horror short stories and a noir novel. There’s a romantic comedy novel series featuring generation-X characters bouncing around in my brain. I’m hoping to get the first installment written this year, while I’m submitting my thesis, an urban fantasy novel, to publishers. I haven’t published anything 20,000 words or longer yet. I’m hoping to change that soon.

Tremendous thank to Serena Jayne for being part of this week’s author interview series! Find her online at her website as well as on Twitter and Instagram!

Happy reading!

Fantastic Talent: Interview with Larissa Glasser

Welcome back for our first interview of March! Today, I’m thrilled to spotlight the amazing Larissa Glasser! Larissa is the author of F4, a novella from Eraserhead Press’s New Bizarro Author series, as well as numerous short stories.

Recently, Larissa and I discussed F4, as well as her story for last year’s Tragedy Queens anthology, along with what she’s working on next.

A couple icebreakers to start: when did you first decide to become a writer, and who are some of your favorite authors?

Larissa GlasserI started writing steadily during high school. Up to then, I had thought I was going to be a musician. I’d studied jazz guitar for about five years, and during my teens I balanced music and writing, and I found a creative outlet with each, although each is a different creative process. I played in a lot of bands, which was usually a collaborative effort, jamming and improvising whereas writing is usually a solitary process. Gradually I became more involved with writing and it took over. William S. Burroughs and Clive Barker were huge influences on me when I first started writing. There are so many authors of whose work I admire and study now, but a few writers who totally changed my universe are Clark Ashton Smith, Monica J. O’Rourke, Caitlin R. Kiernan, Damien Angelica Walters. Then there’s Torrey Peters, she’s a trans writer out of New York and her work really liberated me, encouraged me to come out of my shell with writing trans narratives. Along with Torrey, Jack Ketchum also recently changed my outlook–his work taught me how horror can be character-driven to a greater effect, that our uniqueness in our own trauma helps us resonate with the reader.

Your novella, F4, was released last year from Eraserhead Press to rave reviews. How did this book develop? How long did it take you to write it, and did the process have any surprises along the way?

F4 came from so many different places. I had thought of the middle part first, inspired by coverage of the Taylor Murphy assault trial. Laverne Cox (trans lady actress, Orange is the New Black) was reporting on it for The Huffington Post where she detailed the media’s horrific treatment of the main prosecution witness Claudia Charriez, a trans woman Murphy had physically abused during their relationship. I morphed this tabloid journalism with my main protagonist Carol, a witness to a murder who then becomes a target of media harassment just because she’s a trans woman. This all still happens in real life, and as a former journalism student I wanted to call that out.

I also grew up with kaiju movies. When I was a kid I used to watch Creature Double Feature on Saturdays, and those were usually Godzilla and monster movies. They made a huge impression on me, larger than life beings stomping cities into paste and they wouldn’t stop until they just got bored. A lot of the kaiju films haven’t aged well, but they fired my imagination back then and I wanted to infuse that enthusiasm into the concept of F4. My degrees of success or failure on that front are up to the readers–the trans readers, especially.

F4Your story, “Rituals of Gorgons,” was featured in last year’s highly regarded Tragedy Queens anthology. What was the inspiration behind this particular story?

In 2016, I had an opportunity to participate in a writing workshop created by Topside Press specifically for transgender women. Topside had pretty much been one of the first presses to spotlight trans authors and release their work. Previously to that trans women hadn’t had much representation in mainstream publishing. Anyway, this workshop got about fifty or so trans women together from all over the planet, and I workshopped an excerpt of a story about the trans daughters of rockstar celebrities who both fall in love while being plagued by the paparazzi. After I met Leza [Cantoral] of Clash Books and she told me about the idea for the Sylvia Plath-Lana Del Rey theme of the anthology, I wanted to morph the story idea into “Born to Die” by Lana Del Rey and “Edge” by Sylvia Plath. The latter mentions “a Greek necessity” so that brought Gorgons to mind, and I decided to roll with that.

I’ll share here that I’m going to expand the “Rituals of Gorgons” idea into a new work with the same basic trans lesbian love story idea. But this will have more of a folk horror theme. I’m developing into a novel with the working title “The Brightening.” I’m excited about it.

What is it about speculative fiction, in particular horror and bizarro, that appeals to you as a storyteller?

I grew up with horror and sci-fi, and more recently bizarro for me seemed like the perfect genre to mash the two and expand them into new places. I also grew up with British comedy, and that early 1980s show “The Young Ones” still seems like greatest precursor goddess of bizarro. You could have non-sequiturs and sudden infusions of the ridiculous in a situation and since the writers had built that world with the four main characters who couldn’t have been more different from one another and yet were stuck together in that dilapidated London apartment, everything could still entertain the audience. I think what made “The Young Ones” work so well is because it aired during an oppressive political climate of Reagan-Thatcher-Pinochet. It was also the final end run of The Cold War so their absurd, violent sense of humor also played into that. Laughter and satire are great remedies for fear. So that’s how I see horror and bizarro working well together.

To follow up on that last question, what would you like to see as the future for horror and bizarro?

I’d like to see more queer voices in both, and to see them get recognition. I don’t know if I’ll be part of that, but I’ll do my best and to raise the voices of others like me and to encourage them.

Do you have any specific writing rituals, such as writing at the same time or writing to certain music?

I usually just write when I can, usually in the evening because I am a terrible morning person. I usually write to ambient or chamber music, because lyrics distract me.

What’s next for you?

As I work on my next books, “The Brightening” and “Princess of Rabies,” I’ve got a busy con schedule ahead, including but not limited to Necon, StokerCon, The Outer Dark Symposium, and Necronomicon. I’m also doing research about my dad, who was a spy during The Cold War. That could turn into a nonfiction book, hopefully. On the professional front, I’m looking into academic library jobs in New York City so I can finally relocate to Brooklyn (if anyone hears of anything, please hit me up).

Tremendous thanks to Larissa Glasser for being part of this week’s author interview series! Find her online at Twitter and on her blog!

Happy reading!

Writer’s Luck: Submission Roundup for March 2019

Welcome back for March’s Submission Roundup! This month, there are a ton of great submission calls, so if you’ve got a story seeking home, then maybe one of these markets will be perfect for you!

But first, a regular disclaimer: I’m not a representative for any of these markets, so please direct your questions to the respective editors. And with that, onward with this month’s Submission Roundup!

Submission Roundup

Sherlock Holmes and the Occult Detectives
Payment: $50 plus percentage from Kickstarter profits
Length: Final stories will be 5,000 to 10,000 words; must pitch editor first
Deadline: March 15th, 2019 for pitches
What They Want: The awesome John Linwood Grant is seeking pitches for his anthology that will feature supernatural Sherlock Holmes stories.
Find the details here.

Flame Tree Press’s Gothic Fantasy series
Payment: .06/word
Length: 2,000 to 4,000 words
Deadline: March 24th, 2019
What They Want: The themes for the next two anthologies in the Gothic Fantasy series are Detective Mysteries and Epic Fantasy.
Find the details here.

Wickedly Abled
Payment: $10/flat
Length: 1,500 to 5,500 words
Deadline: March 31st, 2019
What They Want: Fantastic editor Sumiko Saulson is seeking horror and dark fantasy stories written by disabled authors that featured disabled protagonists.
Find the details here.

Letters from the Grave: A Collection of Epistolary Horror
Payment: .05/word
Length: up to 10,000 words
Deadline: March 31st, 2019
What They Want: Open to horror stories told in an epistolary format.
Find the details here.

The New Flesh: A Literary Tribute to David Cronenberg
Payment: .01/word
Length: 2,000 to 5,000 words, with approximately 3,000 words being the ideal length
Deadline: March 31st, 2019
What They Want: The editors at Weirdpunk Books are seeking stories that take inspiration from the work of filmmaker David Cronenberg.
Find the details here.

Hinnom Magazine’s Weird Tales
Payment: .06/word for fiction; $65/flat for poetry
Length: 1,000 to 6,000 words for fiction; no length restrictions
Deadline: April 15th, 2019
What They Want: Seeking weird fiction and cosmic horror in the style of Weird Tales written by female authors.
Find the details here.

Happy submitting!

Looking to the Horror Future: Part Three in Our 2019 Women in Horror Month Roundtable

Welcome back for the final installment of our Women in Horror Month roundtable! February went far too quickly this year!

The last couple weeks, we’ve discussed favorite female authors writing today along with challenges that women in horror face in the industry. Today, to wrap things up, let’s talk about the future of horror and what these seven amazing authors have in the works!

What are your hopes for the future of horror? In what ways could we all be striving to make the industry more equitable for everyone? 

CHRISTINA SNG: I hope to see exciting new ideas and stories bringing horror to the masses, like how Linda Addison’s poem inspired Jamal Hodge’s film MOURNING MEAL and how Josh Malerman’s BIRD BOX was simply revolutionary to me. And on that note, blind readings. That’s the most equitable way really. Let the work sell itself.

STEPHANIE M. WYTOVICH: I want to see a horror genre that is more inclusive and diverse (especially with our anthology TOCs), and I think we’re making strides to get there, but I also think we need to continue to be welcoming and supportive of book reviewers and all the work that they do for us. For instance, Ladies of Horror Fiction is doing a magnificent job of promoting and supporting women in the field, and then services like Nightworms, which is a monthly curated horror-to-read-and-review delivery service, is a unique approach to reading/reviewing, not to mention a wonderful marketing tool to/for our genre.

S.P. MiskowskiS.P. MISKOWSKI: We can all recognize that the genre has room to grow. Competitiveness in horror is self-defeating. It makes people look stupid and bitter. More diversity, a wider range of styles and approaches and experiences, can only make things more interesting.

Accept the fact that change requires action. A correction is needed before things become equal (and once that happens, we can stop trying so hard). This is where we are, on the verge of great changes, but we’re not there yet. To get there, you do have to plan some outreach. If you want talented women and people of color to contribute to your anthology, you might have to introduce yourself. You might have to be explicit in stating how open you are to diversity in fiction.

JULIA BENALLY: My hopes for the future of horror is that regardless of gender, people can publish good horror stories that send chills up the spine, that there won’t be anymore of this backbiting, statement-making, and offended-at-everything-under-the-sun bull crap that’s going on now, and that strong male and female characters can be accepted together, along with the weak ones, be whatever gender they may, and that writers can follow the one rule of writing that’s been torn down, that we can create whatever we want, and that every mold, old and new, can just be obliterated along with those who try to make molds. I think the best way is in the individual author’s hands. We don’t have to submit to this.

SABA SYED RAZVI: I’ve been really delighted by the popularity of spooky poetry and stories, lately. I hope that we continue to see more books of poetry, more collections of short fiction, more anthologies, and more novellas in the future. I’m pleased, too, that more films, television shows, and graphic novels are including the efforts of women. I love the idea that the horror industry can move toward a more equitable space. I hope that the field of horror continues to embrace the marginalized, the nonconformists, the weird, the rebellious, the unexpected. I hope it continues to embrace notions of intersectionality, transcendence, transgression, multiculturalism, gender equality in its topics, texts, and artworks in addition to its authors. The more we start to hear these varied voices tell stories, the more we are likely to hear what it is they are saying, too. I think that Speculative Literature in general, and Horror in particular, have always asked us to consider the things that challenge our senses of comfort, safety, and stability — and as long as we continue to push that envelope and do just that, instead of falling into formulaic traps that ask us to consider only purity of approach, or scarcity of expression, or conformist attitudes toward what frightens and delights us, we have a good chance of discovering newer kinds of horror — not just new monsters, but new approaches to the feeling of being alive, afraid, and energized by the fear that all of those things are as precarious as our ideas of what the world should be. As our world changes — and isn’t it always changing? — our awareness of what scares us in the world should change, too.

SARAH READ: I want to make sure Women in Horror Month is inclusive for all who identify as female in any way, to any extent, and it needs to work at being inclusive for women of color and women with disabilities, too. It needs to keep its focus intersectional, or it does more harm than good and shouldn’t exist at all. I hope that inclusiveness will enrich the genre with delicious new horrors of diverse imaginations.

Emily CataneoEMILY B. CATANEO: Gatekeepers are so important. We are all socialized to respond to specific stories about specific types of characters, and oftentimes, that socialization corresponds to our identities. If our gatekeepers were all socialized to respond to the same kind of story, well, that won’t lead to breadth and variety in our genre. We need more gatekeepers from different backgrounds and with different tastes, and we also just need more: more magazines, more anthologies, more publishers. There’s room for all of us in this field; we simply need to make that room.

What’s next for you?

CHRISTINA SNG: I hope to finish my next poetry collection by the first half of the year which is ambitious because life gets pretty busy and I only have the night to work on my poetry. If I fall asleep, that time is gone so chocolate is my best friend. I also have a children’s chapbook to complete, a haiku book to finish editing, and a novel in three parts to begin. If only time turners exist…

STEPHANIE M. WYTOVICH: Right now, I’m finishing up an apocalyptic science fiction poetry collection titled, The Apocalyptic Mannequin, and it’s going on two years in the making right now, so it’s definitely my baby at the moment. I wanted to push myself to work on something new for my readers, and while there’s still a lot of my personal style in the book, the subject matter, approach, and themes are a tad different.

PariahsI’m also working to put out weird horror novelette this spring titled, The Dangers of Surviving a Slit Throat. This, too, is a bit different from me as it’s my first attempt at something bizzaro (ish), and it’s something that I’ve wanted to write ever since my aunt gifted me an antique radio. Matthew Revert did the cover art for it, too, so I’m beyond excited to put it in everyone’s hands soon!

S.P. MISKOWSKI: I’m writing a new novel, and I hope to have news about that in the coming year. Fingers crossed!

JULIA BENALLY: Writing is what’s next for me. “Pariahs” is out, and now I’m working on the second book, and trying to get a bunch of my other short stories published. Other than that, who knows what the future might bring.

SABA SYED RAZVI: I mentioned some of my ongoing projects earlier, so I think I’ll have psychopaths, robots and demonic faeries on the brain for a while. I’m working on some stories that have to do with magic/sorcery, necromancy, divination, genies, a series of poems about tarot cards, and a novel that isn’t itself horror but is all about people who love horror (and so it is maybe a sort of commentary on the social implications of how we transgress and transcend what we love when we love the shadows and the darkness). If all goes well for me, I hope that this will be a productive writing year, and that maybe during the next Women in Horror Month, I might be able to talk about some completed new projects! 🙂

The Bone Weaver's OrchardSARAH READ: I’ll be doing lots to promote my new novel, of course, and I’ll be at StokerCon and WisCon this year. I’ve just sold my debut collection to Trepidatio, so I’ll be working on that as well! And I’ll be wrapping up edits on my second novel shortly and sending that off into the world. I’m currently writing my third novel. I’ve had a few short story invites for 2019, so hopefully those all come to fruition. Pantheon Magazine will be taking a short hiatus while our publisher finishes up a new degree (and while I do this three books in one year madness), so I’ll have a little more writing time this year! I plan to put it to good use. I’ll also be spending time in Denver, New Orleans, and Chicago, hawking books so I can buy more books.

EMILY B. CATANEO: I’m finishing up my second short story collection in the form of my MFA thesis; it’s called Vainglory and Other Stories, and it’s a mixture of realism, fantasy, and everything in between, but every story features a so-called “bad woman” (some of them misunderstood, some of them actually deeply flawed). I’m also working on a novel, as of yet untitled, about spooky happenings by the ocean. It promises to be very gothic.

And that’s our roundtable for this year! Tremendous thanks to these seven fabulous female authors! It was an absolute pleasure talking with each of them!

Happy reading, and happy Women in Horror Month!

Recommended Reading: Part Two in Our Women in Horror Month Roundtable

Welcome back for part two of our Women in Horror Month roundtable series! Last week, we checked in with our authors about what they’ve been working on and what Women in Horror Month means to them.

This week, we’re discussing all about recommended female horror authors along with the publishers that support them! So let’s take it away!

Let’s focus on the positive for a moment: who are some editors and publishers that have shown their dedication to supporting female horror authors?

Christina SngCHRISTINA SNG: All of the editors and publishers I’ve worked with have been supportive, as well as many who haven’t yet accepted my work but have taken the time to advise me on improving my writing, of which I am deeply grateful for, Linda Addison, Dawn Albright, Mike Allen, F.J. Bergmann, Charles Christian, CC Finlay, Vince Gotera, David C Kopaska-Merkel, Terrie Leigh Relf, Teri Santitoro, David Lee Summers, Susan Shell Winston, to name a few. Our community has been kind and supportive to both old faces and new during the early days of the Internet (showing my age here) and now, although as with every community, there will be exceptions.

STEPHANIE M. WYTOVICH: Personally, I have to give a massive shout out to Christopher Golden, Gabino Iglesias, and Shane Douglas Keene, all three of who are feminist warriors for the women in our field. There’s often not a day/week that goes by where they aren’t supporting, marketing, or promoting female writers on their social media feeds, and it’s really refreshing to see this.

S.P. MISKOWSKI: In my experience: Joe Pulver, Ellen Datlow, Ross E. Lockhart, Kate Jonez, Jess Landry, Justin Steele… I’ve met some wonderful people in horror and weird fiction.

JULIA BENALLY: I will say The Horror Zine, The Wicked Library Podcast, I’ve enjoyed stories from Black Static Magazine, Liquid Imagination, and Another Realm Magazine has good ones.

SABA SYED RAZVI: I feel like this is a challenging question for me because it can be so variable. I hope to learn more about this from the other panelists, but here is what comes to mind: I’ve seen a lot of positive attention in the HWA Newsletter, recently. Many of these are not strictly horror, but friendly to/welcoming of the genre. Hyacinth Girl Press. Sundress Publications. Coffee House Press. Menacing Hedge. Raw Dog Screaming Press. Fairytale Review. Finishing Line Press. Agape Editions. Ugly Duckling Presse. Chax Press. Fiction Collective 2. University of Hell Press. Rose Metal Press. Future poem Books. VIDA. I feel like my awareness of those who are supportive is often colored by my enthusiasm or awareness at any time. I’m often surprised when I see the catalogues of presses or the tables of contents of magazines, only to find that the male voices outnumber the female. I think this is a really great question, and that maybe it would be a great topic to explore during Women in Horror Month. I think I’m going to make it my mission to find a more thorough answer, this month…

Sarah ReadSARAH READ: Ellen Datlow, Andy Cox, Sean Wallace, Jess Landry, Dan Coxon, and Richard Thomas have been phenomenal. If you’re looking for women in horror, their publications should be first on the list. And many others are making great efforts toward being more diverse and inclusive in their work. I see more effort and accountability. There’s still a long way to go, but things are happening. Awareness is definitely happening, and I think any editor today who puts together an all-white-cis-male horror anthology knows that they’re going to be alienating a lot of their potential audience. And if they don’t care, well, that tells us everything we need to know about what not to read.

EMILY B. CATANEO: Michael Bailey, of the aforementioned Chiral Mad 2 anthology, has elevated quite a few female voices lately; Jess Landry, of Journalstone/Trepidatio Publishing, has edited a variety of female-written novels and short story collections in the past few years; and Sean Wallace and Silvia Moreno-Garcia over at The Dark have shown a dedication to diversity in their magazine, especially working to elevate the voices of women of color.

Who are a few female horror authors you wish more people were reading? Likewise, what are some recent horror books or stories by women that should have gotten more attention?

CHRISTINA SNG: I think your fiction is mesmerizing. I love Caroline Yoachim’s flash fiction. The poetry of Linda Addison, Marge Simon, Jennifer Crow, Christa Carmen, Sara Tantlinger, Erin Sweet-Al Mehairi, and Stephanie Wytovich.

Sheet Music to My Acoustic NightmareYour incredible THE RUST MAIDENS, Caroline’s SEVEN WONDERS OF A ONCE AND FUTURE WORLD, Linda’s CONSUMED, REDUCED TO BEAUTIFUL GRAY ASHES, Marge’s WAR, Jennifer’s THE FIRST BITE OF THE APPLE, Christa’s SOMETHING BORROWED, SOMETHING BLOOD-SOAKED, Sara’s THE DEVIL’S DREAMLAND, Erin’s BREATHE, and Stephanie’s SHEET MUSIC TO MY ACOUSTIC NIGHTMARE. Powerful, evocative work.

STEPHANIE M. WYTOVICH: Oh! I love making author/book recommendations, so some absolute must-reads are:

Something Borrowed, Something Blood-Soaked by Christa Carmen
• “Slipping Petals from Their Skin” by Kristi DeMeester
Hair Side, Flesh Side by Helen Marshall
And Her Smile Will Untether the Universe by Gwendolyn Kiste
I Am Not Your Final Girl: Poems by Claire C. Holland
• “The Changeling” by Sarah Langan
• “Horror Story” by Carmen Maria Machado
• “Death’s Door Café” by Karron Warren
• “Necksnapper” by Emma Alice Johnson

S.P. MISKOWSKI: Anyone who likes subtle psychological and supernatural horror, especially ghost stories or strange stories, ought to read Lynda E. Rucker. She has two superb collections in print—The Moon Will Look Strange and You’ll Know When You Get There—and her stories are frequently published in annual ‘best of’ anthologies. One of her stories won a Shirley Jackson Award.

The Worst Is Yet to ComeIf you write horror or aspire to, I also recommend the fiction of Lucy Taylor, Lisa Morton, Lisa Tuttle, and Gwendolyn Kiste. I’m not including you to be nice because you invited me to your blog. I think what you’re doing, formally, stylistically, is unusual. When the right structure meets the right theme in a Kiste story, the effects are stunning, amazing.

JULIA BENALLY: I have a small list of who I’m a fan of: Scarlett R. Algee, you, Miracle Austin, and Jamie R. Wargo. But as for the new, I’ve found only one. Her name is Barbara Avon. She usually writes romance, but she also hops into horror. She had a book called “Speed Bump” that came out last year. It’s about this guy trying to get home for Christmas and he has several freaky adventures along the road. Her stuff reads like watching a movie. You can just see everything play out so well. Another book I really enjoyed was by Jamie R. Wargo, called Coyote Ridge. That one was really fun to read. These two people run over a coyote puppy and unleash these monsters from legend on themselves. I am a monster fan, so I was all about this. Both of these books are on Amazon.

SABA SYED RAZVI: So, writers whose works (which I consider horror, but which may also be categorized differently by the author) I’ve been reading recently include Elizabeth Hand, Quintan Ana Wikswo, Joyelle McSweeney, Caitlin R Kiernan, Lucie Brock-Broido, Stephanie Wytovich, YOU (Gwendolyn Kiste!), Nikki Ducornet, Shelly Jackson, Kit Whitfield, Elizabeth Kostova, Damien Angelica Walters, Marge Simon, Christina Sng, Marjorie Liu, Lee Murray. I find women’s voices are finding expression in poetry and short fiction often, lately. I’ve been impressed by what I’ve read in the past few years. As always, I think the Stoker ballot is a great source for good new works, but so is the Elgin Award nomination list (it isn’t always horror, but there’s some good overlap).

SARAH READ: I want to see more people reading more horror in general–especially from women and genderqueer authors, but a few of my recent favorites are: Letitia Trent, Eden Royce, Caitlin R Kiernan, Jordan Kurella, Rena Mason, Lisa Morton, Rebecca Jones-Howe, Nnedi Speaking to Skull KingsOkorafor, Premee Mohamed, Gwendolyn Kiste, Maria Haskins, Helen Oyeyemi, Karen Runge, Emma Johnson, Nicole Givins Kurtz, Mercedes Murdock Yardley, Tananarive Due, Jessica McHugh, Helen Marshall, Gemma Files, Angela Slatter, Anya Martin, Julie C. Day, Carina Bissett, E. Catherine Tobler, JS Breukelaar, Kaaron Warren, Maria Dahvana Headley, Megan Arkenberg, Rhonda Eikamp, Silvia Moreno-Garcia, and a few dozen others, but I should stop or we’ll be here all day. There are hundreds. Anyone who says it’s hard to find is reading with blinders.

EMILY B. CATANEO: These days, I’ve actually been reading more fiction that’s classified as literary, because of the aforementioned MFA program, so I feel out of the loop in regards to women who are writing fiction that’s classified as horror. However, I do want to draw horror fans’ attention to the fact that plenty of literary-classified fiction is actually tinged with the horrific. Clare Beams’ We Show What We Have Learned and Other Stories, for example, is crawling with gothic creepiness. And Otessa Moshfegh’s Eileen is a thriller for the ages.

Thanks again to our amazing featured authors, and head on back here next week for the final part of this year’s Women in Horror Month interview series!

Happy reading, and happy Women in Horror Month!

Fear and the Feminine: Part One in Our 2019 Women in Horror Roundtable

So welcome back for the official kickoff of our Women in Horror Month Roundtable! I’ve already introduced my fabulous interviewees last week, so in the spirit of the season, let’s just charge forth, shall we?

First off, welcome to this year’s Women in Horror roundtable! Please tell us a little bit about yourself and your latest or forthcoming releases.

Stephanie M. WytovichStephanie M. Wytovich: Thank you so much for having me, Gwendolyn!

I’ve been working in the horror industry for a little over seven years now, and I write, teach, mentor, and tutor writing (fiction, poetry, and nonfiction) for a living. I’ve had five collections of poetry published through Raw Dog Screaming Press, one of which (Brothel) brought home the Bram Stoker Award in 2016. My graduate thesis, a religious horror/dark fantasy novel titled The Eighth was published in 2016 by Dark Regions Press, and it also helped earn me my MFA in Writing Popular Fiction from Seton Hill University.

My latest book, Sheet Music to My Acoustic Nightmare came out in 2017 and it’s a collection of poetry that is more or less a confessional dirge filled with ghosts, heartache, and naturally, a little (just kidding—a LOT) of blood.

Christina Sng: Hi Gwendolyn! Thank you for inviting me to this year’s Women in Horror roundtable. I’ve been writing horror for as long as I can remember and began submitting work in 2000. My first sale was to Dreams and Nightmares. I took a decade off writing to raise my kids (not much of a multitasker I am) and returned with my first full-length dark poetry book A Collection of Nightmares and a science fiction chapbook Astropoetry in 2017. This year, I’m back to putting poems into collections and hoping they find a home.

S.P. Miskowski: I’m a fiction writer with a lifelong respect for horror. My childhood reading was eclectic, anything from Vladimir Nabokov to Ira Levin.

Generally speaking, my work is about the nightmares just below the surface of everyday life. Many of my main characters are women, often doing and saying things women are not supposed to—in other words, being human. I think equality means being respected, and perceived as human and therefore fallible. My obsessions are existential: What does it mean to be human in a universe entirely indifferent to humanity?

My latest book is a short novel, The Worst Is Yet to Come (published by JournalStone/Trepidatio). It’s a stand-alone horror story about two very different teenage girls and how they alter one another’s lives, but it overlaps with and is related to four previous books comprising the Skillute Cycle (published by Omnium Gatherum), set in a fictional town in Washington State.

Julia BenallyJulia Benally: Hi, Gwen! Thanks for having me here. This is so much fun. So, a little about me. I’m an American Indian who used to have a fish. I love to cross-stitch, I enjoy singing, dancing in my room where nobody can see me, and I love driving through the mountains and listening to beautiful music, because it stirs my muse. So it drives me insane when someone gives me a ride and turns their music off so they can do small talk with me. As of now, I’m getting my second reprint for 2019. It’s called “Kittylyn,” and it will be featured in Another Realm Magazine. This little story kept getting rejected by editors left and right, and now suddenly it’s in demand. It’s almost like a Cinderella story, but I didn’t mean for it to be. Therefore, saying I had put my own twist on Cinderella wouldn’t be right. Also, my book Pariahs is out, and I am so excited, and thrilled, and I touch it and look at it every day, still not exactly sure if it’s a hallucination. This one’s about a twelve year old boy being terrorized by a fallen demon-killer who’s claimed him as his son. This world, and this story, is full of monsters and soulless creatures. I’ve seen it classed online as not only folk horror, but also adventure and thriller.

Sarah Read: Hi, I’m Sarah Read. I write horror and dark fantasy fiction. I have a few dozen short stories scattered about (soon to be unscattered into a collection from Trepidatio Publishing), and my first novel, The Bone Weaver’s Orchard, was just released. I’m also the editor for Pantheon Magazine. Our latest anthology, Gorgon: Stories of Emergence, has just come out and is not to be missed!

Saba Syed Razvi: Thank you so much for Inviting me to participate in this Roundtable. I think Women in Horror Month is such an important endeavor, and I’m honored to be here — and to hear about the experiences and thoughts of the other panelists!

I’m a writer who feels an interest in the intersecting spaces among and between genres, ideas, and experiences, so I find that my own work overlaps many spaces, but tends to find itself most usually settled in darkness and in shadow. Not that I’m into being morbid for its own sake, necessarily, but I find a certain beauty in the grotesque, and in the ways in which we approach the macabre and the morbid, the ephemeral and the phantasmagoric, the occult and the elusive. I tend to trace these threads in my work, no matter the genre, whether I am working on academic scholarship, short fiction, essays, or poetry. I like the weird and the strange, the way it nudges us out of the ordinary into something more real. It is my hope that my feelings of fascination come across in the work I write, too. I feel that language is in many ways itself haunted, that it haunts me, too…and I think that comes through in my work. My most recent collection of poetry is “heliophobia”, and I’ve been really enjoying the chance to give readings from it. I’m recording some of the poems for those who may want to hear them, and posting them on SoundCloud at times; that’s been an interesting project because I don’t have any experience with recording, but I have a great enthusiasm for giving readings!

Saba Syed RazviAs far as new material goes… I have a few things in the works, at the moment, but they are in process, which is an exciting phase to be in. I’m finishing up work on a long collection, a cycle of poems that center around a man who has murdered his wife and is sculpting a replacement of her…sort of erasing her consciousness rather than uploading or preserving it; the work focuses on the notion of artificial intelligence, and how our own biases inform the way we can know things, the way we define them or delineate between them, the way we attempt to negotiate our fears through our relationship to them, and it pays a lot of attention to the idea of dissection, taxonomies, destruction, and disempowerment, of a fear and terror born of powerlessness. It focuses on a darkness that is somewhere between the exhilaration of experiment and the clandestine cover-up of a crime, building its fragmentary narrative through currents of violence and violent impulse, as investigated through the materiality of the language and the flat plane of the page. I’m also working on completing a long poem about a predatory game hunter and a ghostly faerie woman that he has captured; it takes place in a castle in Ireland, along the Blackwater (a river) and tackles ideas about freedom and domestic imprisonment, the monstrosity of obligatory motherhood as a stifling condition, and the desperation in magic borne of captivity. Lately, I’m interested in this space between magic and making, and my short fiction is wading its way through representations of madness and the occult. I’m really drawn to the paranormal in my short fiction, so I hope to share a bit of that in the forthcoming year, too.

So, I think I have a lot of things sort of…. in the works, but they may be a little while in the works before I can say they are forthcoming.

Emily B. Cataneo: Thank you so much for putting this together, Gwendolyn! I’m a writer and journalist originally from New England and currently based in Raleigh, North Carolina. My stories fall into several different literary categories—fantasy, realism, magical realism, etc.—but almost all of them are tinged with some kind of creepy, gothic, or horror element. If you’d like to check out some of my recent work, you can read a piece of mine in Nightmare called “Seven Steps to Beauty for a Girl Named Avarice,” which is about murderous witches, or a reprint that just came out in Lightspeed, called “The Emerald Coat and Other Wishes,” which is about a coat that transports its wearers to a realm from which they can never return.

How did you first learn about Women in Horror Month, and what are your thoughts on it? Do you think over its decade of existence that it’s helped to raise visibility for female horror creators?

Stephanie M. Wytovich: I got on the WiHM train back in 2014 after I graduated with my MFA, and I thought that it was such a fantastic concept to highlight women and their work in the horror industry. Mind you, I think every month should be WiHM, i.e. we shouldn’t stop celebrating women’s voices when February is over and long gone, but I do like the concentrated support it gives everyone.

And sure, it’s frustrating that we still need something like this, but for better or worse, I think anything that showcases new/seasoned voices and allows women to be seen and heard is a good thing.

A Collection of NightmaresChristina Sng: I first learned about Women in Horror Month on Facebook. I think it is awesome and there’s a sense of sisterhood around it, which I love. It has definitely raised visibility for female horror creators and it’s wonderful to see.

S.P. Miskowski: Like most people, I heard about WiHM via social media. I tend not to think of myself while writing. By that I mean I don’t think of myself as a person who fits a category. So a reminder that, in fact, my writing may be identified (by the world) by my gender—this is always startling, at first. Then I remember, “Oh right, I have this layer of identity, like a bulky suitcase, to carry around with me. People who see me will reduce me to this one thing and make assumptions about my gender, my age, my life, my beliefs.” It’s a pain in the ass.

Of course we all deal with this, all people have to deal with some degree of objectification. People of color face many more assumptions about who and what they are. The world is a place where you’re constantly told who you’re supposed to be, and anything you do to upset the status quo counts against you. The smaller the community in which you reside, the more that community tries to keep you in one category because it makes life simpler.

I don’t know how much WiHM has helped. Has it made women horror writers more visible? Maybe. Does it let people off the hook, so they only have to think about women in the genre once a year? Probably. Is it an annual reminder that a shocking number of people can still only name two or three women—all dead—who wrote horror? Definitely.

Julia Benally: So the first time I ever heard of Women in Horror was from you, Gwen. I was totally confused about it, but now I think it’s really fun. I like having a month dedicated to women horror writers. I’m pretty sure it has raised visibility, because now lots of people know about it, and it’s their chance to find new authors to read, and for authors to find new readers. That’s the most important to us authors than anything else.

Sarah Read: I don’t remember exactly how I learned about WiHM. Twitter, probably? I do think it has increased visibility, yes. Women in Horror Month lists and features were the first places my name ever appeared as a horror author, and it’s where I’ve discovered other names that have since become some of my favorite authors. From an editor’s perspective, I know those lists are a great place to look when I’m reaching out to writers for new work.

Saba Syed Razvi: I first learned about Women in Horror Month through the Horror Writers Association! I hadn’t known anyone else who was involved in it or who worked with it, but a stray mention on the website caught my attention.

HeliophobiaRight away, I loved the idea of celebrating women in horror, especially because, so often, women are victimized by horrific and violent acts or creatures in horror stories and film. Because I am interested in how gender is represented in literature and pop culture, and also how it plays a part in the ways in which we interpret it, I found myself immediately fascinated. A simple search on YouTube brought up so many videos that I really enjoyed watching and listening to — and brought my attention to so many writers whose works I had not yet read. I was pretty excited about that. Because my emphasis has traditionally been on the mainstream or experimental “literary” approach, and often moored in academic presses, I hadn’t encountered many of the names or books mentioned. Women in Horror Month also opened up my awareness of indie publishing in a big way, too. And, I imagine that when people stumble across the idea, they suddenly have at their fingertips a lot more resources than they knew about before.

I definitely think it has brought more visibility to the female creators of horror — but I also think it has built a sort of community, an awareness that women’s voices do matter in this space, the validation of the idea that horror can be much more than simple male aggression, that Medea is just as scary as Freddy Krueger and therefore just as meaningful however disparate they seem, and a sense of dynamism that invites more participation. For me, knowing that a designated month existed in which we could honor women in the field reminded me of all the nuances of it, the many ways in which horror could be enlivened, shared, and appreciated. I can say that my searches online since that first discovery have introduced me to the work of many writers whose material I would not have encountered otherwise, many frameworks for exploring and discussing them that I did not have before. As a movement, it has brought not only awareness and visibility for women writers and creators of horror, but also a reminder that these voices are not anomalous interlopers, but artists who should be celebrated. I love the positivity of the movement!

Emily B. Cataneo: I think Women in Horror Month is something that shouldn’t have to exist; in a perfect world, we wouldn’t need it. However, we don’t live in a perfect world, and I do think that Women in Horror Month has helped raise visibility for female horror creators over the past decade. I also think that the publishing industry as a whole, although it has a very long way to go, has slowly started to awaken to its representation problems. It could be that Women in Horror Month is part of a larger shift in the industry. Is this a lasting change? I certainly hope so.

So that’s part one of our interview series! Head on back here next week for even more Women in Horror Month celebration!

Happy reading!

February Fiction: Submission Roundup for February 2019

Welcome back for this month’s Submission Roundup! Lots of very cool submission calls this month, so polish up those stories and poems! But first, a word from the webmaster (as in, me): I’m not a representative for any of these markets; I’m just spreading the word! If you’ve got any questions, please direct them to their respective editors.

And now onward to February’s Submission Roundup!

Submission RoundupLackington’s
Payment: .01/CAD
Length: 1,500 to 5,000 words
Deadline: February 10th, 2019
What They Want: Open to stylized speculative fiction. This issue’s theme is Voyages.
Find the details here.

Alban Lake Publishing’s parABnormal Magazine
Payment: $25/flat for original fiction; $7/flat for reprints; $3/flat for poetry
Length: 4,000 to 8,000 words for fiction; 1 to 100 lines for poetry
Deadline: Ongoing
What They Want: Open to paranormal short stories and poetry.
Find the details here.

Hinnom Magazine
Payment: .02/word for fiction; $50/flat for poetry
Length: 1,000 to 6,000 words for fiction; no line limits for poetry
Deadline: February 28th, 2019
What They Want: Weird fiction and cosmic horror stories that are grim, otherworldly, and/or morally ambiguous.
Find the details here.

Triangulation: Dark Skies
Payment: .04/word
Length: up to 5,000 words (approximately 3,000 words preferred)
Deadline: February 28th, 2019
What They Want: Speculative fiction that deals with the theme of star-filled skies.
Find the details here.

Letters from the Grave: A Collection of Epistolary Horror
Payment: .05/word
Length: up to 10,000 words
Deadline: March 31st, 2019
What They Want: Open to horror stories told in an epistolary format.
Find the details here.

The New Flesh: A Literary Tribute to David Cronenberg
Payment: .01/word
Length: 2,000 to 5,000 words, with approximately 3,000 words being the ideal length
Deadline: March 31st, 2019
What They Want: The editors at Weirdpunk Books are seeking stories that take inspiration from the work of filmmaker David Cronenberg.
Find the details here.

Happy submitting!

Women in Horror Month 2019 Roundtable Coming Soon!

Welcome to February, and more importantly, welcome to Women in Horror Month! I am super thrilled that I’m once again doing a roundtable interview series to celebrate the month!

So before I start unveiling the Q&A next week, allow me to introduce our incredible authors who are part of this year’s interview series!

Julia BenallyJulia Benally began on a dark and stormy night on the Fort Apache Reservation. She loves to run around in the mountains, snow is her element, and wonders at strange people who love the desert. In 2009, she graduated from Brigham Young University in Utah and began her long painful climb up the writing mountain. Her book Pariahs came out almost without her knowing because she wasn’t sure how to work the publishing button, and went through a slight panic attack. She’s been published in several magazines over the years, including The Horror Zine, Hellbound-books’ anthology Graveyard Girls, Liquid Imagination and Enthralled Magazine.

Emily CataneoEmily B. Cataneo is a writer and journalist. Her work has appeared in magazines such as Nightmare, Lightspeed, The Dark, and Lady Churchill’s Rosebud Wristlet, and her debut short fiction collection, Speaking to Skull Kings and Other Stories, was released from Journalstone in 2017. She calls New England home, and is currently based in Raleigh, North Carolina, where she’s completing her MFA at North Carolina State University. She’s a 2013 Odyssey Writing Workshop and a 2016 Clarion Writers Workshop graduate. She likes hats, crafts, and dogs.

S.P. MiskowskiS.P. Miskowski is a recipient of two National Endowment for the Arts Fellowships. Her stories have been published in numerous magazines and anthologies including Haunted Nights, The Madness of Dr. Caligari, Darker Companions: Celebrating 50 Years of Ramsey Campbell, and The Best Horror of the Year, Volume Ten. Her second novel, I Wish I Was Like You, was named This Is Horror 2017 Novel of the Year, received a Charles Dexter Award from Strange Aeons, and was a finalist for a Bram Stoker Award. Her books have received three Shirley Jackson Award nominations. Her latest novel, The Worst Is Yet to Come, is available from JournalStone/Trepidatio.

Saba Syed RazviSaba Syed Razvi is the author of the Elgin Award nominated collection In the Crocodile Gardens (Agape Editions) and the new collection heliophobia (Finishing Line Press), which appeared on the preliminary ballot for the Stoker Award, as well as the chapbooks Limerence & Lux (Chax Press), Of the Divining and the Dead (Finishing Line Press), and Beside the Muezzin’s Call & Beyond the Harem’s Veil (Finishing Line Press). Her poems have appeared in several literary journals, as well as in anthologies such as Carrying the Branch: Poets in Search of Peace, Voices of Resistance: Muslim Women on War Faith and Sexuality, The Loudest Voice Anthology, The Liddell Book of Poetry, Political Punch: Contemporary Poems on the Politics of Identity, The Rhysling Anthology, Dreamspinning, & The Horror Writers Poetry Showcase Volume V. Her poems have been nominated for the Elgin Award, the Bettering American Poetry Awards, The Best of the Net Award, the Rhysling Award, and have received a 2015 Independent Best American Poetry Award. She is currently an Assistant Professor of English and Creative Writing at the University of Houston in Victoria, TX, where in addition to working on scholarly research on interfaces between contemporary poetry and science, on mysticism in speculative and horror literature, she is writing new poems and fiction.

Sarah ReadSarah Read is a dark fiction writer in the frozen north of Wisconsin. Her short stories can be found in Gamut, Black Static, and other places, and in various anthologies including Exigencies, Suspended in Dusk, BEHOLD! Oddities Curiosities and Undefinable Wonders, and The Best Horror of the Year vol 10. Her novel The Bone Weaver’s Orchard is now out from Trepidatio Publishing, and her debut collection will follow in late 2019. She is the Editor-in-Chief of Pantheon Magazine and of their associated anthologies, including Gorgon: Stories of Emergence. She is an active member of the Horror Writers Association. When she’s not staring into the abyss, she knits. Keep up with her at www.inkwellmonster.wordpress.com.

Christina SngChristina Sng is an award-winning poet, writer, and artist. Her work has appeared in numerous venues worldwide, including Apex Magazine, Dreams and Nightmares, Fantastic Stories of the Imagination, New Myths, and Polu Texni. She is the author of the Bram Stoker Award winning A COLLECTION OF NIGHTMARES (Raw Dog Screaming Press, 2017) and Elgin Award winner ASTROPOETRY (Alban Lake Publishing, 2017). Her poems received nominations in the Rhysling Awards, the Dwarf Stars, as well as honorable mentions in the Year’s Best Fantasy and Horror, and the Best Horror of the Year. Christina is also an avid gardener and an accomplished musician, and can be found most days in a dark corner deadheading her flowers while humming Vivaldi to the swaying branches. Visit her at http://www.christinasng.com and connect on social media @christinasng.

Stephanie M. WytovichStephanie M. Wytovich is an American poet, novelist, and essayist. Her work has been showcased in numerous anthologies such as Gutted: Beautiful Horror Stories, Fantastic Tales of Terror, Year’s Best Hardcore Horror: Volume 2, The Best Horror of the Year: Volume 8, as well as many others.

Wytovich is the Poetry Editor for Raw Dog Screaming Press, an adjunct at Western Connecticut State University, Southern New Hampshire University, and Point Park University, and a mentor with Crystal Lake Publishing. She is a member of the Science Fiction Poetry Association, an active member of the Horror Writers Association, and a graduate of Seton Hill University’s MFA program for Writing Popular Fiction. Her Bram Stoker Award-winning poetry collection, Brothel, earned a home with Raw Dog Screaming Press alongside Hysteria: A Collection of Madness, Mourning Jewelry, An Exorcism of Angels, and Sheet Music to My Acoustic Nightmare. Her debut novel, The Eighth, is published with Dark Regions Press.

Follow Wytovich at https://www.stephaniemwytovich.com/ and on twitter @SWytovich.

So those are the seven fabulous women that I’ll be featuring in the coming weeks! As always, be sure to head on back here throughout February for all the interview goodness!

Happy reading, and happy Women in Horror Month