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.

---

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.

Drollerie Press

THE MARKET

• Publisher: Drollerie Press
• Editor(s): Various (interview with Deena Fisher)
• Pay rate: 42% net
• Response Time: about 2 months
• Description: Drollerie Press publishes short stories, novelettes, novellas, and novels in various genres, including sci-fi, fantasy, and horror. (More in guidelines.)
• Submission Guidelines: www.drolleriepress.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?
Oh goodness. I like so many. In speculative fiction: Robin McKinley, Tanith Lee, Charles de Lint, Terri Windling, Patricia Wrede, Caroline Stevermer, Neil Gaiman, Patricia Briggs, Caitlin McKiernan, Jay Lygon. I love the mythology that they bring into their writing. I think it gives their stories depth and texture. They have likeable, intriguing protagonists and well-drawn secondary characters, characters who aren’t interchangeable from book to book; strong plots, and a story I can believe in, one that I can be invested in.

2) What are your favorite genres? Which of these genres would you like to see incorporated into submissions to this market?
I love speculative fiction of all kinds. The sub-genres I’m currently interested in are steampunk, space opera, and urban mythic. Those will likely change; they often do. The best stories, for me, are cross-genre and turn expected plot elements on their heads. I really enjoy stories that tease the reader into exploring more experimental fiction. Everyone knows what a story is, and, often, when we read for fun we like to read things that follow the patterns we know. I like stories that start from that accessible point, the hero’s journey or the coming of age tale or the romance, and then diverge from that point gently, bringing the reader along, so that by the end it’s become something new.

3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
I love everything if it’s told well. The stories that are hardest to sell to me are contemporary fiction without anything mythic, speculative or fantastical about it; and anything prior to about the Georgian period. I don’t love quasi-early-historical (pre-medieval ages) fiction or chick-lit. That’s not to say I wouldn’t accept one, but it would be a harder sell. Steampunk, as I mentioned earlier, so quasi-real of almost any period. I can’t think of any locale I wouldn’t enjoy for the right story.

4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
I like to start fast. I don’t want info dumping to occur--ever. I recently read a novel that I enjoyed, but it took me a long time to recognize that I liked it because, for me, it started too slowly. If a person browsing in the bookstore can’t be hooked in the first three pages, it’s not likely going to sell well.

I don’t care about a character’s hair or eye color, that she thinks about feminist issues while applying her mascara too heavily, or that he really wants a beer and to get laid while admiring his washboard abs in the steamy mirror after his shower. While those are the better ways to info-dump, they’re still bits of information that we can discover more organically as we watch the characters interact with others during the course of the plot.

5) What type of characters appeal to you the most? Any examples?
I’m a pushover for strong, competent adult female characters, like the protagonist in Tanya Huff’s space operas; broken characters, the best example for me would be Robin McKinley’s Deerskin; and plucky teens who overcome obstacles to do something amazing, like in the Wrede and Stevermer series. Any character has to have real flaws but they can’t be so flawed that they’re hateful. I have difficulty with the sympathetic killer as pro- or antagonist or the perfect Mary Sue.

6) Horror and violence can be blatant or suggestive. Which one do you prefer and why?
I have to admit, I like mine a little softer, more suggestive, but, other than a dislike of gore-fests, it depends on what’s best for the story.

7) In fiction and in life, what do you find most horrific?
Child abuse, rape, and serial killers, and it would take a story of monumental quality to get me to accept one that featured any or all of those things. I believe they’re too often used for shock value or as tricks to raise tension instead of organic parts of a great story.

8) What are the top three things submitters to this market should avoid?
Anything that’s horrific for the sake of shocking the reader into overlooking bad writing. Anything that doesn’t fit our guidelines; we don’t publish memoirs, for example, but we get at least one of those a month. Bad vampire erotica.

9) What commonalities are among stories you've rejected? Is there a particular aspect authors get wrong? (Question by Martel)

1. Stories that do not fit our guidelines, including books of poetry, photography books, memoirs, and stories that have nothing mythic or speculative about them.
2. Stories that are written with the same plot as a major bestseller. I don’t want the next Da Vinci Code; there are too many clones of it out there already. Nor do I want the next Anita Blake.
3. Stories that are too liberally sprinkled with stereotypes. If it starts out with bad stereotypes--flamboyant gay; kindly granny; “when will you give me grandchildren?” mom; autistic savant; albino sharp-shooter; middle-aged, middle-class guy with a beer gut who shapes up and saves the world; badly-written Ebonics-speaking African-American best friend--it doesn’t have a chance.
4. Badly written or poorly paced. If I’m itching to pick up a red pen to correct grammar, subject/verb agreement, pronoun usage, or the use of monkshood tea rather than verbena or chamomile to soothe the heroine’s nerves in the first chapter, I’m not going to ask to read more. If the story starts with the heroine dressing, calling her mother, picking out her jewelry and going to her normal day job where nothing happens, it’s not going to make it.

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)
We try to give at least minimal feedback on every story, usually a paragraph or two about why it doesn’t work for us unless it’s just not our kind of story. From that feedback, the canny author should be able to tell whether or not we’d be interested in reading a revised version, though we do try to include that in the feedback as well. For instance, if I say “I hope you find the right publisher,” then I’m pretty sure I’m never going to be that publisher. If I say, “I thought this story had some remarkable strengths until your Amazonian heroine started crying for her mother,” then I’m probably willing to read a revision. Bottom line: we’re probably open to revisions about half the time, but if the author’s not sure, it’s usually best if he or she asks first.

11) What attribute are you seeking most in submissions to this market?
I can’t narrow it down to one. Tight writing, strong characters, new or unusual situations, myths from other cultures than we can find in any Western Civ. course; believable African American/multicultural protagonists, strong gay characters, strongly religious characters who live in a story that isn’t a thinly-veiled homily, and other unique points of view.

12) Any last advice for submitters to this market?
Read all of the guidelines and be sure you’re submitting your work to the right editor in the right format. Some of our editors will read works that aren’t quite according to our guidelines, others will decline. Either way, if you do it the way we ask you to, we’re going to be favorably inclined toward you. Make sure that your work has been read first by your most nitpicky friend and that as many errors as possible have been nuked. Make sure that you’ve told the best story possible in as few words as possible; make every word count, not because we’re worried about adding another page to the book, but because it will be a better story. Believe in your work and write a persuasive, friendly, short (please make it short) synopsis/cover letter that tells me why I should want to work with you and a little bit of what your story is about.

---

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.

LBF Books

THE MARKET

• Publisher: LBF Books
  
• Editor(s): Jodi Lee
• Pay rate: 10% gross print sales; 40% gross eSales
• Response Time: 3-5 months
• Description (from the editors): LBF Books, an imprint of Lachesis Publishing, is a royalty-paying publisher of fiction works by authors, new or previously published. We are a print and an ebook publisher offering our reading public the very best titles via direct download or overnight shipping from our website store. (More in guidelines.)
• Submission Guidelines: www.lachesispublishing.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?
It’d be hard to nail it down to a few, and I read from so many different genres. King is the obvious first choice, mostly for his not-always-flawless way of bringing so much into a story, and still keeping it real. Or unreal, depending on which story you’ve got going. I read The Stand at least once a year.

Clegg, Keene, Lee (Edward), David Wong – all from the horror genre. Probably all for the similarities as much as the differences in style. Outside of that, I read a M.R. Sellars book every year. I practically hold my breath from November to October, waiting for the next book; Sellars brings the reader closer to the fire with his tales, serving hot chocolate and cookies while he’s at it. It’s at the end, when he twists your mind into a ball of mush and tosses you out the door until the next time, that makes me come back. That, and he’s a great guy. I read a lot of sci-fi shorts (obviously, as an Apex Slushie) but no one will surpass Isaac Asimov in my opinion. The man was a god. I have a thing for William Nolan, too.

I don’t really have a favorite in the romance genre, but if we skip into paranormal thriller/adventure – Sherrilyn Kenyon steals the show. She has created worlds that just stick around. I also have a handful of non-fiction authors that I read regularly: D.J. Conway, Patricia Telesco, Scott Cunningham – mostly in the alternative religions/alternative healing areas.

See? Hard to nail it down. Particularly when I’ve been known to read medical textbooks or obscure design mags. I like anything if it’s well written.

2) What are your favorite genres? Which of these genres would you like to see incorporated into submissions to this market?
My absolute favorite would have to be horror, followed closely by paranormal thriller and police procedurals. I even slip into romance once in a while. If someone could write a truly wonderful novel and combine all of those, I’d be floored.

Sci-fi and fantasy follow close behind. At LBF we publish the range of genres, so a writer’s best bet would be to query, or take a look at the website and see what we’ve been putting out there. I do like anything with a twist!

3) What settings most intrigue you? Ordinary or exotic locales? Real or fantasy? Past, present, or future?
Anywhere that isn’t here. Even here can be intriguing at 3 a.m. with the coyotes howling… Seriously though, nothing ticks me off more than a badly researched setting. If a writer is going to use a real location but has never been there, they have to do the research. I’ve come across some serious research errors in novels I’ve edited that could have been avoided by looking in an atlas, or doing a five minute Google search.

I think what would really work for me is a real, ordinary place made exotic by some sort of fantastical event, and it doesn’t matter what time period – any of them will work. I’ve seen those, and they have the perfect cross-genre twists that keep the reader happy.

4) Explain the type of pacing you enjoy, e.g. slow building to fast, fast throughout, etc.
If a submitting writer doesn’t grab me in the first chapter, or at least in the first three chapters, they aren’t going to get their foot past the desk. I want some sort of hook, action or otherwise, within the first twenty-five pages. A fast pace is great… so long as it’s not breakneck confusion all the way through. Steady on, but gaining speed nearer the end definitely keeps me (and most readers) turning the pages.

5) What type of characters appeal to you the most? Any examples?
The everyday person put into impossible situations, and coming out the hero. That is one thing that has to ring true to pretty much every reader… if you can’t somehow get involved in the character, you’re not going to get involved in the book. How better to get involved than to relate to the protagonist?

For example – Stephen King’s The Stand. Each and every one of those characters is relatable on some level, with every single reader picking it up. The self-involved rock star turned martyr, the nerd boy that goes evil to get the girl next door (and still fails to get her); even Flagg himself is the spoiled toddler being told no for the first time.

6) Horror and violence can be blatant or suggestive. Which one do you prefer and why?
Both. I can’t choose between the two, although it always depends on the mood I’m in. They have to work together to be effective – the suggestion before the stark visual, so to speak.

7) In fiction and in life, what do you find most horrific?
Disembodied eyeballs. Humankind. The rampant ignorance resulting from dulled senses, lack of stimulation and basic education in society. Love.

8) What are the top three things submitters to this market should avoid?
Clichés. I know I’ll be skewered for this, and I do love them myself – however – vampires, zombies and were-beasts are overdone. It’s unlikely a submitter will be able to find a new hook to the old themes. Another thing is sweet HEA romance.

Hey, I write vampire fiction myself, and I wouldn’t publish me. I know how hard it is to find an original thread to them. Find something new, away from the overdone.

9) What commonalities are among stories you've rejected? Is there a particular aspect authors get wrong? (Question by Martel)
Most commonly, we receive submissions that are little more than first drafts. I cannot stress this enough: any new writer should have at least one person proofread their work for mechanical errors, plot holes, and lack of characterization. A few mechanical errors we can look past, the rest, not so much.

I'd have to say though, the clearest commonality amongst rejected works has been weak stories surrounding badly researched or clichéd plots.

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)
If I find some merit in a submission, but still plan to reject it, I will ask the writer to submit a revision during our next reading period. I send those requests out with specific, if minimal, critique points, showing the author what needs to be done before we reconsider the submission.

While I understand the yearning to “fix it and send it back” without the request, all too often the author hasn't fixed what needs to be fixed... and we end up rejecting all over again. It ends up being a waste of our time, and the author’s.

11) What trait are you seeking most in submissions to this market?
Personable authors behind well written, tight and clean manuscripts. Literary, genre-specific, cross-genre – I don’t care. Well, maybe I do care a little bit. I’d like to see more thrillers, cross-genres into paranormal thriller or even into horror.

12) Any last advice for submitters to this market?
I like guidelines. I like writers that can follow guidelines. Our guidelines (when we’re open and they’re available) are clear. Some formatting issues can be easily resolved if the writers simply take ten minutes to change their submission prior to sending it to us. I’ve only known one person to complain constantly about having to do this – and that person wasn’t accepted.

We require a marketing plan – we expect our authors to get out there and work book signings or conventions, have websites and do online promotions. Every little bit helps, and even the most remote authors can do something.

Don’t ask me to critique your submissions. I don’t have time for that – that’s what crit groups are for. I may or may not have time to tell you why I’ve rejected the manuscript (if I do); don’t hound me for more information. Accept it and move on. Overall, don’t argue with a rejection – arguing isn’t going to change my mind.

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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.