WiHM Interview with R. J. Joseph

This year we are celebrating a decade of showcasing women in horror! In honor of something so close to my heart, I am featuring ten amazing ladies in horror on my blog all month long to celebrate their incredible creativity and work in the field.

My next guest is R.J. Joseph! I am thrilled to share her wonderful perspectives in the answers below, and encourage everyone to check out her work. Happy reading! 

Author Central PicR. J. Joseph is a Texas based writer and professor who must exorcise the demons of her imagination so they don’t haunt her being. A life-long horror fan and writer of many things, she has finally discovered the joys of writing creatively and academically about two important aspects of her life: horror and black femininity.

R. J. is absolutely thrilled to have a story in the 2018 Bram Stoker Award nominated anthology Sycorax’s Daughters and a featured poem in the Horror Writer’s Association Poetry Showcase, V. When R. J. isn’t writing, teaching, or reading voraciously, she can usually be found wrangling one or six of various sprouts and sproutlings from her blended family of 11…which also includes one husband and two furry hellbeasts.

 

ST: Thank you so much for taking the time to share more about your work today. To start, tell our readers a little bit more about your background with horror? What creative outlets do you channel horror into (writing, art work, film, design, research, etc…)?

RJJ: Hi, Sara! Thank you so much for having me over to chat. It’s always a pleasure to talk with someone who crafts wonderful interview prompts and questions.

I’ve been a fan of horror since I was a young child, and that has been quite a long time. I devoured everything horror related: books, movies, comic books—everything. But even though I’ve been a lifelong fan, I haven’t always felt comfortable enough to create my own manifestations of horror. It was difficult to reconcile my desire to explore the horrific with my Southern Baptist upbringing and my femininity. I would write things and hide them because I wasn’t sure what their, or my, reception would be. I’d send out the occasional story and get good feedback, but I’d always go back into what I thought was safer space.

Then, I finally found a horror writing tribe at Seton Hill, and those magnificent creatures accepted me as one of their own. I couldn’t deny that part of my creativity any more. Since venturing out, I’ve found that my horror creator persona lends herself best to short stories, poetry, and academic writing. The academic part was a bit of an accident that has worked out pretty well because I love picking stuff apart. I’ve just started on my first screenplay and a novella that has been waiting around in my head for years finally might see the light of day this year.

ST: I love that combination of using the feminine along with a Southern Baptist upbringing to inspire stories. I bet that leads to unique ideas. Good luck with the screenplay and novella, I’ll keep an eye out for them! 

Women being drawn to horror has always made perfect sense to me as a way to confront our own daily horrors, to unleash the brewing darkness in our heads, and as a way to just have fun with our creativity. What draws you personally to the horror genre?

RJJ: Horror is really cathartic, and honestly, living as a black woman has shown me many horrors. I’ve always seen the monster hiding underneath the veneer of regular life, fooling everyone into thinking it isn’t a monster. My fascination grew when I figured out the monsters fool us so many times because we want to be fooled. Sometimes I wanted to be the monster and lean into the freedom and exaltation provided in the shadows. I think it’s easy to want to lean into monstrosity when the monsters have so much power. I like to examine why all the monsters aren’t allowed to unleash that power. Also, I just have an innate darkness. I present as a bubbly, outgoing suburban mom type, but inside beats a murky heart powered by an even darker soul.

ST: Such a poetic answer! I really like the image you paint here, of that freedom the shadows may hold.

We both recently had the honor of having the top 3 featured poems, alongside the wonderful Donna Lynch, in the HWA Poetry Showcase Volume VYour poem “So She Burns It All Down” is a fiery, heartfelt piece that I adored. Have you been writing more poetry? How does your process for poetry compare to writing prose?

RJJ: That was such an exciting honor! I read yours, Amalgamation, and rooted for the monster. She was perfection, exactly the type of monster I long to see more of in the horror genre. I wanted her to finally lean in and accept her power as a beautiful creature, even though I enjoyed the tension that existed within her.

I have been writing more poetry, but poetry is an almost lyrical process for me, one that’s slower than writing prose. First, a character or setting comes to me and I study how the character moves and exists in space or how the setting uses the area around it. This movement provides me with the rhythm of the poem. The words then start to dance to those beats. The way I arrange the words and the way they sound, when it works well, ultimately become a manifestation of that character or place.

Writing prose is based more on my inquisitive nature. I’m full of questions. I can see something and my mind immediately goes to question what I’m seeing and the circumstances surrounding the situation. The stimulus can be as innocent as hearing a noise that intrigues me or walking through a garden looking at the plants. The whole story might come to me all at once, or in vignettes. I play around with it inside my head until I think I can type up a reasonable draft. Sometimes I sit with stories for years before they’re ready to be birthed into the universe.

ST: Thank you for your kind words on my piece, too! I really enjoyed reading about your processes above.

Some of the other recent books you have had pieces published in include Sycorax’s Daughters and Black Magic Women, two really beautiful collections. What were the inspirations for your work in these anthologies?

RJJ: I’m really proud of both of those books and honored to be included alongside the other contributors. Most of my works revolve around various aspects of trying to navigate the societal expectations often placed on black, female beings. In “To Give Her Whatsoever She May Ask”, from Sycorax’s Daughters, I was inspired by the idea that Screen Shot 2019-02-17 at 7.18.44 PMsometimes we’re betrayed in ways we can’t imagine, such as by our own bodies and our faith. Ingrid relies on her faith to give her what her body desires and is unable to produce, but when she realizes that may not work, she decides to ask for help somewhere else. I’ve found myself in that position many times, questioning why things didn’t work the way I wanted them to and having a hard time accepting that maybe my desires weren’t meant to be. That faith can be fragile.

“Left Hand Torment”, in Black Magic Women, was my first effort at historical horror. I’m fascinated by historical horror stories and I just don’t see them done a lot by modern horror writers. (This is a good place to tell you I can’t wait to read The Devil’s Dreamland. I’m sure it will give me the creepy, historical delight I enjoy so much.)

I wanted to write about a black woman who was doing something in the past other than Screen Shot 2019-02-17 at 7.18.12 PMnavigating chattel slavery. Black women were doing other things throughout history, like taking advantage of social systems and practices to gain social and financial freedom. Placage, a form of common law marriage practiced in New Orleans during the 18thand 19thcenturies between black women and white men, often provided the women entering into these arrangements with binding agreements where they could own property and their children could inherit assets from their fathers. I wanted to tell the story of a young woman in such an agreement, where the desire for freedom and positioning in society led her to the horrors of being considered someone’s property. Her arranged union was a different type of bondage from chattel slavery, but still bondage, nonetheless.

ST: Thank you for sharing some background inspiration for your stories!

What is a piece of advice you’d give to women just starting in the field, or what is something you wish someone would have told you before you started getting involved with horror projects?

RJJ: I wish someone would have told me that some gatekeepers would defend the gates for a really, really long time, and continue to provide fertile ground for sexism, racism, and other bigotry. There have been numerous people of color and people of varying gender expressions allowed to play in the horror arena, especially during the past few years, and I’m excited about that. But it seems superficial. I feel there are still practices in place that make it super hard for us to really break ground and build permanent residences here. I see resistance in places where I would think it wouldn’t exist and I realize that although many of us have done this long enough to not let that resistance stop us from producing and staying in the game, a newer and less experienced writer might not have that same experience. They might be turned off or scared away from working in our industry because they just don’t feel welcome or safe.

ST: Your excellent points go right into my next question.

One of the reasons I enjoy Women in Horror Month is because it gives us a chance to both reflect on how horror is evolving and reacting to societal and cultural changes, and it allows women to highlight the issues and obstacles we are still facing. What are your hopes for the future of women in horror, or just for keeping the momentum going all year long for more diversity within the genre?

RJJ: I hope that more varying experiences and expressions will continue to be embraced within the genre. Get Out was earth shattering because it introduced the idea that racism is a repulsive horror, so works that examine it fit squarely within the horror genre. The terror faced by the parents of the disabled children in Hereditary and A Quiet Place showed that fraught situations which anyone would find dreadful are utterly petrifying for families with disabled members. Stories told through varying gender lenses are necessary so we get a truly diverse array of what scares different people with different experiences.

There are still naysayers who say these voices don’t belong in horror, that social justice efforts are being forced on audiences who only want the same fare they’ve been given repeatedly. These people would rather see the genre cannibalize itself by producing and celebrating the same stories based on the same ideas by the same writers over and over again, growing stagnant in its refusal to mature and represent more citizens of the world. I hope the authentic, varying voices soon start to drown those out. This innovation and freshness is necessary if we want the genre to continue on into perpetuity and gain new fans.

ST: I’m with you 100% on that, and it’s one of the reasons why I am constantly drawn to horror. It provides an outlet to come face-to-face with the very real horrors and terror we create as a society every day. I try to believe that confronting those realities will generate important conversations.

I know there are thousands of incredible horror ladies out there, but who is one woman in horror who inspires you particularly? What is it about this person’s work or personality that speaks to you?

RJJ: I remain in perpetual awe of Linda Addison. She’s simply marvelous. Not only is she a brilliant writer who can create magic from mere words, but she’s a delightful person. I let my membership in HWA drop for a couple of years because I really struggled with whether or not membership and the community provided the support I need as a black, female horror writer. But then I saw Linda in action. I listened to her words and watched what she did. She gives back to the horror community in ways that often go unacknowledged. She’s always willing to give a word of encouragement without the practiced air of someone who just goes through motions. Her kindness is genuine. Also, she manages to provide editorial feedback that doesn’t leave you feeling eviscerated but is honest and always makes the piece better than it was before.

Without knowing of my struggles and doubts, Linda showed that she is and always has been an integral component in building an organization and shaping an industry that will be good for all horror writers. She has single-handedly—and I’m pretty sure, unknowingly—been responsible for me continuing to renew and participate. Through her example, I’ve realized that I want to engage with the community and give back where I can.

ST: Linda is amazing! And like you said, her kindness is so genuine and encouraging.

What are you working on this year or what do you have coming out? Where can we find you to keep up-to-date with your work?

RJJ: Right now, I’m working on my first draft of an academic essay for the collection Not a Fit Place: Essays on The Haunting of Hill House, edited by Dr. Kevin Wetmore. I’m not sure if we have a publication date just yet, but I’m thrilled to write a chapter about this series. I’m in my element when I get to examine and analyze and put different ideas together.

I currently have a few short stories out with editors, so I’m hoping those find homes. Also, I’m working on a novella and screenplay, as well as pulling together short stories for a story collection to shop around. I hope to have good news on those before the end of the year.

My Amazon author page is where I usually keep releases updated.

Uncovering Stranger Things: Essays on Eighties Nostalgia, Cynicism and Innocence in the Series made it onto the preliminary ballot for the Stoker awards in the non-fiction category this year. I can’t even brag about my own essay in the collection because the others are beyond remarkable.

I’ve enjoyed chatting with you and I look forward to reading more of your work, Sara.

ST: Wonderful! I can’t wait to see what you create in the future. Thank you so much for sharing your insights today.

Keep up with R.J.’s work and thoughts on her social media! Find her on Twitter @rjacksonjoseph and Instagram: @rjacksonjoseph

and on her personal Facebook or official author Facebook

Follow her blog at rjjoseph.wordpress.com

Check back on Wednesday to read about my next guest!

WiHM Interview with Rachel Autumn Deering

This year we are celebrating a decade of showcasing women in horror! In honor of something so close to my heart, I am featuring ten amazing ladies in horror on my blog all month long to celebrate their incredible creativity and work in the field.

My next guest is Rachel Autumn Deering! She’s pretty metal, is so much fun to talk to, and is a fantastic writer. Read on!

rad

Rachel Autumn Deering is a rock ‘n’ roll witch with a heart of slime. She lives with a bunch of monster masks in suburban Michigan.

 

 

 

 

 

 

ST: Thank you so much for taking the time to share more about your work today. To start, tell our readers a little bit more about your background with horror? What creative outlets do you channel horror into (writing, art work, film, design, research, etc…)? 

RAD: Hey, it’s my pleasure! Thanks for having me.

It truly feels like I’ve always been into horror. I had an uncle who would babysit me a lot while my dad worked and he was really into creature feature movies and old horror comics and heavy metal music, so I was exposed to darker ideas from a very young age. I think by associating those things with my uncle, who was a generally happy and positive person, I realized horror wasn’t something awful or forbidden or made for bad people, but it was something to be enjoyed on a certain level, you know? I would put on a tape of cartoons and a tape of something like Night of the Demons back to back and could see the value in both. It was never a taboo thing in my family so I never treated the horror genre as anything more than great stories.

Of course some of that stuff scared me stiff, but I loved it. Horror media was something I consumed in a way that seemed to stick with me more than the rest. And those darker themes carried me through my childhood and into my adult life where I applied a horror sensibility to nearly everything I did. My career started with horror comics back in the early 2000s. I was living in Columbus Ohio at the time and writing for a local horror-themed rock ‘n’ roll comic. From there I went on to write and self-publish a horror comic series until that was eventually picked up by a publisher in the UK, and all along the way I landed gigs with various publishers to write comics like Creepy and The Grim Adventures of Billy & Mandy and so forth. I released a really hefty hardcover horror anthology comic in 2014 called In the Dark, and was nominated for the Eisner and Harvey Awards for that work. During my time in comics I also wrote supplemental lore for the horror video game Diablo III, but that’s been my only experience with the interactive media side of things. From comics, I transitioned into writing prose with my debut novella, Husk, and I’ve been firmly planted in the literary garden ever since. I’ve gone on to write a number of short stories for various publishers, design a small handful of book covers, and I’m currently editing a witchy anthology for Titan in the UK with my good friend Christopher Golden as well as chipping away at two new novels, one of them co-written with Irish author Matt Hayward.

And, lest you think I’m not busy enough, I am also the lead vocalist and primary lyric writer in a horror-themed heavy metal band called Cryptlord.

ST: I love your extensive background — I’m also amazed you have time to breathe. Rock on! Women being drawn to horror has always made perfect sense to me as a way to confront our own daily horrors, to unleash the brewing darkness in our heads, and as a way to just have fun with our creativity. What draws you personally to the horror genre?

RAD: I honestly can’t be certain. I don’t tend to analyze the how and why of things I enjoy. I think if I had to venture a guess, I’d say I like the idea that there’s something out there scarier than my fellow man. That no matter how awful people might be, there’s something more to fear in this world. In that way, I suppose horror is a sort of redemptive thing for me. The older I get, the less I write about creatures and the more I have made humans the focus. That tends to be the narrative arc for most people, I think. We get older and we lose our rose-colored glasses, and we shrug off the presumptions of innocence, and we start to see the world in a much more mature (and oftentimes sinister) way. I don’t want that to be true, but at this point in my life that’s how I feel. I’d love to go back to relating to the fun, campy, redemptive sort of horror some day but given the current social climate, I don’t imagine I’ll be holding my breath.

ST: I think you’re spot on with that observation about the narrative arc and how writing changes as we get older. Your bio mentions you are from the hills of the Appalachia. I think Appalachian horror is an underrated subgenre that more people need to explore. The environment is so rich for storytelling. How has the surrounding and culture crept into your work?

RAD: Well, Husk was set in a small Kentucky town with small Kentucky townfolk, so it’s Screen Shot 2019-02-05 at 7.01.53 PMpretty easy to see the influence there. I’ll almost always have at least some passing mention of Kentucky or a small town somewhere, even when the story is set in a larger city. Often a character will have a certain way of speaking that makes them a little more down-home and friendly, especially if they’re the central antagonist. I don’t know why I love a friendly villain, but I’m guessing that comes from the hills in some way, too. People tend to tell me I’ve got a very straight-forward, no-nonsense way of telling a story that somehow finds a way to still be lyrical. That comes from my childhood, sitting around on porches, listening to the adults telling stories about loving and lusting and fighting and fishing. I moved away from Kentucky before I began my writing career, but I’ll always carry Appalachia in my heart.

ST: Along with writing, you have designed book covers (the cover you did for the upcoming book Limbs from Grindhouse Press is still hauntingly fresh in my mind!), and you have extensively written, designed, edited and more in the comics industry. What are the challenges you have faced as a woman in these industries? What changes would you like to see in the future to help make these industries more diverse?

RAD: Outside of the few odd comments about my looks, I haven’t come up against too many knuckleheads myself. And I’m thankful for that because I’ve heard some stories that’ll make you mad enough to fight. It might be that I’ve got that rough and tough lesbian edge that keeps me from having to deal with the nonsense, where someone else who might be a little more soft-spoken and gentle in demeanor would be seen as an easier target. It might just be the company I tend to keep, but it feels like creative industries as a whole are being dominated by forward-thinking, progressive people who show an active interest in making the working world a better place for women. There will always be holdouts and radicals who try to keep women from achieving anything meaningful, but it seems to me that those types are increasingly more afraid to speak out. I think it’s only a matter of time before their kind dies off completely and there will be no more reason to make a fuss about gender in any industry. I know there are people out there who struggle every day with their identity and how it impacts their work-life. I would not, for a second, want to discount their experiences and I’ll be there to stand with them any time I’m needed, but I try to have an optimistic outlook for the future. Here in Michigan where I live, we appointed a woman to every statewide office in this most recent election, and even sent a decent chunk of ladies up to Congress. That’s massive progress, and I find a lot of hope in that.

ST: What is a piece of advice you’d give to women just starting in the field, or what is something you wish someone would have told you before you started getting involved with horror projects?

RAD: I’d say you shouldn’t wait around for someone to give you permission to tell the stories you want to tell. You don’t need a publisher to say it’s okay to write your book. You can distribute your work through Amazon these days and get it out to anybody in the world. Do your own thing, be unique, be the exact type of writer you want to be and don’t ever flinch. Definitely don’t try to hide your femininity or feel like you need to be as macho as the dudes to fit in and be taken seriously.

ST: Great advice. I know there are thousands of incredible horror ladies out there, but who is one woman in horror who inspires you particularly? What is it about this person’s work or personality that speaks to you?

RAD: I like Sarah Pinborough quite a bit. It seems you can’t really put her in a box when it comes to her writing and I like that. She’s definitely horrific, but I don’t think she feels the need to be defined as a horror writer. I read Behind Her Eyes last year and it really had an impact on me. I hadn’t been that thoroughly entertained in a long time, by a book or a movie or anything else. She incorporates elements of thrillers, romance, body horror, paranormal, and everything in between and it makes for a really wild ride. I have her new one, Cross Her Heart, on my night stand now and I’m looking forward to being able to dedicate some time to that.

ST: What are you working on this year or what do you have coming out? Where can we find you to keep up-to-date with your work?

Screen Shot 2019-02-05 at 7.01.06 PMRAD: I am finishing up the all-female witch anthology, Hex Life, for Titan Books at the moment. After that, I will be writing a non-fiction history book for an existing horror franchise that must remain nameless until after it is announced. I have a number of short stories coming out in various anthologies this year as well as my novel Wytchwood Hollow and the novel I’m co-writing with Matt Hayward called Pestilent. You can find me on twitter @racheladeering to keep up to date on all of those projects and more.

ST: Thank you so much to Rachel for joining us. Check out her website and Twitter to stay updated on her amazing projects!

Check back on Monday to read about my next guest! 

Step into my Murder Castle…

Holmes jacketMy second poetry collection, The Devil’s Dreamland: Poetry Inspired by H.H. Holmes, is now live on Amazon!

If you might be into some serial killer poetry, check out my book on Amazon and Goodreads.

Here’s a sneak peak from one of my poems in the book titled “Scarlet Siege”

 

Scarlet Siege

Insanity splits through the air
like a serrated knife cleaving
melons in half, juice pools out,
lightly blood-tinged, flowing into
the mob mentality of fair-goers
flies stick to the glistening liquid
churning out tiny spawn to harvest
inside the mind of crowds

stop and sample the new
flavors of candies,
watch in awe as Tesla
sparks electric excitement,
conducting lightning through
his body like a melody,
marvel at the Ferris Wheel,
that monstrosity of a ride
hovering between adrenaline
and a drop straight down to skull-
cracking fear

within the White City’s celebration,
the water stays pure, the air cool,
horrors belong on the outside
where suicides have popped up
like cherry-tinted daisies,
where horses drop dead
in the streets from exhaustion,
muzzled and blinded
they never stood a chance,

where blood runs thick enough
to brew gurgling tarns
around the great fair,
drown all the attendees
beneath a scarlet siege,
consume that split of insanity
cleave the city in half as it bleeds

Cover Reveal: The Devil’s Dreamland: Poetry Inspired by H.H. Holmes

Coming very soon from Strangehouse Books…The Devil's Dreamland full rez.jpg

 

“Tantlinger’s chilling poetry, inspired by life/lies of a serial murderer, unfolds in the imagined voices of his victims, and the man himself, in a city reduced to ashes and rebuilt for him to bleed. The poems entice to try understanding this devil: what does he gain from such horror? In the end, after he is hanged and buried, the haunting last poem plants the idea: evil is more than one man and isn’t easily destroyed.”

—Linda D. Addison, award-winning author of “How to Recognize a Demon Has Become Your Friend” and HWA Lifetime Achievement Award winner

“In this morbidly creative and profound crime documentary, Sara Tantlinger delivers one of the best works of horror poetry I’ve read in years. What America’s Ripper, HH Holmes, built with his creatively sick “murder castle” in 1890’s Chicago, Tantlinger creates today with this book, rich with seductive language and unflinchingly exploratory in its multifaceted structure. It’s brilliantly constructed to get inside your skull and pry apart your morbid fascination with life, death, perversion, avarice and murder, awakening you to the evil that hides in plain sight around us all. Readers will thrill to find themselves spilling down its terrifying trapdoors and careening down its greasy dark slides, until they find themselves imprisoned inside the black gloom of a deviant dungeon of nightmarish evil that they’ll never be able to forget…or escape. An amazing autopsy of the unholy!”

—Michael Arnzen, Bram Stoker Award winning author of Grave Markings and Play Dead

“A fascinating and absolutely riveting journey into the life and times of one H.H. Holmes. Sara Tantlinger’s powerful and vivid prose takes you into the depths of Holmes’ dark universe and what you see will stay with you long after you’ve closed the book.”

—Christina Sng, Bram Stoker Award winning author of A Collection of Nightmares

Friday Fun Facts: Serial Killer Edition

My next poetry collectionThe Devil’s Dreamland: Poetry Inspired by H.H. Holmes, will (hopefully) be out in a few weeks! Dr. Holmes and I can’t wait to welcome you into our nightmares…

But for now, I thought I’d list some of my favorite “fun facts” about Holmes that inspiredScreen Shot 2018-10-19 at 12.25.31 PM a few pieces in the collection. Holmes is a tricky case — many of the “facts” we assume were actually tall tales that morphed into a kind of accepted truth; however, playing around with those blurred lines and blending historical horror with fictional interpretations was deliciously morbid and fun for me to do in this collection.

1. Holmes was “married” to three women at the same time. Only the first marriage to Clara was legal. He would later go on to “marry” Myrta Belknap and Georgiana Yoke though he had never divorced Clara. Holmes killed several women, including a few mistresses, but he never killed any of his three wives. This inspired my poem “Three Wives Dressed in Black,” which makes an appearance toward the end of the collection as Holmes sits in his jail cell before his public execution.

2. While the rumors and ideas linking H.H. Holmes and Jack the Ripper as the same person are amusing and intriguing to think about, I’d never buy into it. Logistically speaking, from what we know of Holmes and where he was in the states and when, I think he would have had to been able to teleport to truly commit the Ripper’s acts. While some may be able to speak around this, the number one reason I would never credit them as being the same is because of how different their killings were.

Screen Shot 2018-10-19 at 12.26.51 PMThe Ripper was vicious and intimate. He literally reached inside of his victims and had his fun with their organs or slicing off women’s breasts (I imagine the Ripper is a deeply fascinating case to all the Freudians out there). Holmes was never that intimate or messy. In my head I imagine his neatness likens to that of NBC’s Dr. Lecter on Hannibal. Holmes was cowardly in his approaches though, using chloroform or gassing victims to their deaths. He was more fascinated by the psychological approach, by seducing and charming before quietly extinguishing lives rather than tearing someone apart into a gooey bloodbath. I have two “Holmes vs. The Ripper” poems in my collection, and they were two of my favorite to research and write.

3. While in prison, Holmes wrote two notable texts. One was a rather idyllic memoir that he crafted in hopes to gain public sympathy and to try and convince people that he was

Screen Shot 2018-10-19 at 12.26.09 PM

Georgiana Yoke, Holmes’ last wife, at his trial. 

being falsely accused of all these crimes. After that failed to work and he was convicted, Holmes wrote a rather odd “confession,” in which he wrote of murdering people who were in fact proved alive. There are some really interesting analyses out there that go through who he may have actually murdered vs. who he, for some reason, claimed to have killed but did not. I found access to both the memoir and confession, which easily inspired the voice I use for Holmes within my collection, and inspired many poems toward the end within the sections where he’s in prison. What struck me the most was Holmes’ undeniable intelligence and merits of literacy within his writing. An articulate madman with a pen, wielding words with expert manipulation, is truly a frightening thing.

4. Appearance wise, Holmes was considered handsome at the time. His blue eyes get noted often, but I also came across in my research that he may have been cross-eyed, which inspired my poem “Strabismus,” and a few others in the collection. One eye on the victim, one searching elsewhere…studying the shadows…looking for the devil.

5. After leaving Chicago, Holmes eventually went to Texas where he engaged in more money schemes and fraud, as he did in Chicago and elsewhere. He also attempted to construct the Fort Worth Castle, a building similar in strangeness and massiveness to the famed “Murder Castle” in Chicago. By this time, numerous lawyers, unpaid workers, and members of law enforcement were trying to find Holmes to get some answers for their missing payments. Holmes would leave Texas, soon after embarking on the wild chase across the states that would lead to his arrest, but of course not without a few more dead bodies along the way. I have a section of poems in my book that go through this chess board pursuit, and I can’t wait to take you along for the ride.

So wait patiently. Buy your train ticket. The good doctor is already there, seated quietly in first class, drinking his tea and eyeing you as you walk past…one eye on you, the other on the shadows…searching…waiting…

 

 

 

 

 

 

 

 

OPEN CALL ANTHOLOGY

***Update: This is now closed.

Ladies, I want your monsters. Announcing NOT ALL MONSTERS, an anthology to be released by Strangehouse Books in the fall of 2020 that I am editing!

There are monsters in every woman’s life. And while maybe not ALL monsters are so bad, I want you to tell me about the dark and twisted ones. Give me protagonists who take no shit. Show me women who save themselves. Does the hero slay the beast, or is she the monster? All types of monsters, protagonists, and antagonists are welcome here. I am looking for speculative fiction containing strong prose with character-driven stories that convey powerful messages. I am particularly drawn to the beautiful grotesque, gothic elements, the macabre, and poetic prose, but I welcome all well-crafted stories to be submitted.

All writers who identify as women are welcome to submit.

Submissions open on November 1st, 2018 and will remain open until our approximate word count has been met.

 

Manuscript formatting should follow the Shunn style

Send submissions to: notallmonsters2020@gmail.com

Payment: $0.01/word

Expected word count: ~90K

Stories should be a minimum of 2K and up to 8K

NO reprints

NO multiple submissions

NO simultaneous submissions

See the rest of the guidelines here.