Very excited to announce that I am now Assistant Editor of Coffin Bell, a quarterly online journal (they also have an annual print issue) that publishes “waking nightmares, dark CNF, dystopian flash, cursed verse.”
I hope to bring my decade of experience in literary circles, workshops, and critique groups (as well as my undergraduate degree in creative writing) to the operating table and get my hands slick with organ rot. I mean weird fiction.
The magazine wanted a headshot so I sent them this:
That’s me, by the way.
Two unique Rune Bear commissions by Vieve S. Ponce.
Check out her Twitter and Facebook.
Literally Stories published my fantasy story, “Black Bear on White Paper.” The story takes place in a realm I’ve envisioned for some time: a forest world founded on an endless, underground library. Unexplained, and mostly unexplored, the library is attended by a small cabal of librarian-monks. The concept combines Borges’s “The Library of Babel,” Tolkien’s Mines of Moria, and the medieval monastery.
Literally Stories was started in 2014 by a wiggle of writers, including a bloke named Adam West (no, not that one). The magazine not only provides a platform for prose and poetry, but encourages reader feedback and author interaction. There’s even a comments section labeled “Your Thoughts” for criticism of the magazine itself. The hope is to give “each story its moment in the sun.” Naturally, this might provide a healthy tan; for others, a nasty burn.
A mischievous Rune Bear commission by Yrene Castelli.
Check out her Facebook Page.
The following is a record of the rejection letters for my prose and poetry that I received in 2018. This is a total account; my embarrassing 2-3 rejections per month are a living, working reality. I’ve cut greetings (hello, dear writer, etc.), story titles, and editor names for some mixture of brevity and privacy.
Continue reading “Rejection Letters of 2018”
I’ve been photoshopping advertisements for Rune Bear‘s weekly posts. In each image I tried to capture some element of the companion piece while not making a picture that sucks terribly. Some have been not-so-great, as to be expected, but these three below were somewhat successful.
The first is a rune bear mounted on the wall for Amanda Bender’s “The Hero and the Hunter.” Her piece is part one of an emerging storyline (we’ll be posting Part II at a later date). Basically, a failing zoo has to turn to a big game hunter who pursues exotic beasts. But since Rune Bear Weekly features pieces that are under three hundred words, I’ll have to be careful summarizing anything, since the synopsis might end up longer than the story.
Look at those pain-sullied eyes. Look at ’em.
The second image is of a bear spying on himself in a sword blade. This was created for T. J. Locustwood’s “The Recruitment of Steel.” The piece is a cantos that pairs with his upcoming book, Alexander Croft and the Corvian Wrath.
Finally, for Joe Amaral’s “We are Seeds,” about a village destroyed and its sole vengeful survivor (a little girl with druidic magic), I shopped a rune bear casting a leafy magical curse.
The Tishman Review nominated my story “And We Who Never Died” for Best Small Fictions.
BSF is an anthology that honors the “best short hybrid fiction published in a calendar year.” The Harvard Review wrote that the pieces in BSF are like a “splash of ice water in the face,” a wake-up call to “your life… unspooling.”
When I heard I’d been nominated, I was like cool beans and moved on to lesson planning and grading.
Then Coffin Bell posted this:
And I discovered that MY WIFE HAS BEEN NOMINATED.
As of this day, she and I are no longer friends. No longer best friends. No longer lovers.
But bitter enemies locked in literary combat.
THIS. MEANS. WAR.