Jamie Hallow and the End of the World


To be released July 11th 2023! Preorder the eBook here.

Jamie Hallow is an Unbeliever…

For thousands of years, the Legion protected humanity from eldritch terrors. But when the nukes dropped, the balance was broken. The Legion retreated underground, ceding the surface to radioactive fall-out, surface scavengers, and things from Outside.

Several years since the war’s end, queer teenage misfit Jamie Hallow – Legion born and raised – finds the bunker’s theocracy stifling. His ex-boyfriend has pledged allegiance to the secretive Taskforce, running missions into the hot zone of the crumbling city. 

And when Jamie learns just what his ancient cult is prepared to do to ‘save’ humanity, he must choose where his loyalties lie.

A novella from A.V. Wilkes — HP Lovecraft meets Mean Girls by way of The Chilling Adventures of Sabrina.

The Shadow Dancers of Brixton Hill


To be released June 13th 2023! Preorder the eBook here.

In 1937, American circuses are trying to recoup the losses they incurred during the Great Depression while competing with newer forms of entertainment like movie theaters. Kate Montgomery travels to the small town of Brixton Hill to scout a new act for her father’s struggling circus. Lewis Oswald, a trainer and friend of Kate’s family, introduces her to the Shadow Dancers, three young girls who can make their shadows dance independently of their bodies. While the act would revive her family’s circus, Kate is horrified by the young women’s dismal training and living conditions. She wants to help them escape their dreadful situation, but when the Shadow Dancers take matters into their own hands, she’ll have to save herself.

Nicole Willson writes horror and dark fantasy. Her debut novel Tidepool (Parliament House Press) came out in August 2021 and was a finalist for the Bram Stoker Award for Superior Achievement in a Debut Novel and the Ladies of Horror Fiction Award for Best Debut. A Spanish translation of the novel is available from Dilatando Mentes Editorial. Her short fiction has appeared in two anthologies by Cemetery Gates Media. She lives with her husband and a rotating cast of cats in Northern Virginia. Find out more about Nicole at http://www.nicolewillson.com

Seasons of Severance


Seasons of Severance is an anthology of four mini horror collections, featuring new fiction from Sara Tantlinger, Corey Farrenkopf, Jessi Ann York, and Red Lagoe. Each author brings out the dark, creepy, and weird through their own personal style.

Themes you’ll find explored within: folk horror, fears of seclusion, interpersonal demons, coming-of-age angst, and body horror.

Released 3/21/23. Pick up an eBook or paperback copy here!

Cover art and design by Yorgos Cotronis at http://www.cotronis.com

The Once Yellow House


Paperback and eBook now available here!

The ‘Yellow Massacre’ of November 19th 2020, in which three hundred and forty-seven members of a secretive society known as ‘The Retinue’ were brutally slaughtered, has gone down in history as one of the most horrific and compelling unsolved mysteries of the decade, if not century. So far, information about this tragedy has been patchy and heavily censored by authorities.

Questions abound: what was the exact cause of death of so many victims? What role did married couple Hope and Thomas Gloucester play in the massacre? What exactly went on at the property know as the ‘Once Yellow House’, where the Retinue were encamped?

And are the rumours true — were The Retinue really a cult?

So far, these questions have gone unanswered.

Until Now.

Bram Stoker Award nominated author Gemma Amor (DEAR LAURA) has been granted exclusive access to never before seen documents collated from a variety of sources, including entries and sketches from the alleged personal scrapbook of Hope Gloucester herself, verbatim transcriptions of recorded conversations, emails, articles, and letters, and, driven by a desire to help shed light on a mystery that has affected the lives of so many, has compiled them into the world’s first coherent account of the Yellow Massacre.

What follows is a collection of somewhat surreal first-hand descriptions of a catastrophe that seems to be part truth, part rumour, party fantasy, and one might even suggest: part performance art.

“I say this with the utmost certainty: The Once Yellow House is probably my favorite work of Gemma’s to date. Not only is it a testament to her remarkable talent as one of our finest contemporary horror writers, but the book skillfully illustrates how the epistolary format remains one of the most effective sub-genres of horror.” — Eric LaRocca

A Compendium of Creeps


Released in paperback and eBook April 4th! Order the paperback and eBook here.

A Compendium of Creeps is a book for fans of folk horror and world folklore. Provine and Sullivan bring together nonfiction accounts of the creepiest locations around the world, contemporary essays on folklore, and original horror fiction inspired by urban legends and creepypasta.

Have you heard about the Man-Eating Tree of Nubia?

I’m sure you’ll want to visit the Dream Beach in Sao Paolo? Or will it be a crowded nightmare?

Is there something more sinister in the Masoala Forest of Madagascar than cute lemurs and fossas?

Even the most well-read of legend trippers will find new locales to investigate, creepy lakes of the dead, unheard of cryptids that will come as a most pleasant surprise.

And once you’ve perused our extensive list of supernatural sites, there are essays on the variety of Romanian creatures from Transylvanian writer Alex Woodroe, the true mystery of New Orleans’ own Voodoo legend Marie Laveau as told by a local expert, an exploration of Black American folklore told through the lens of the 1995 movie Tales from the Hood by horror writer RJ Joseph.

To end the compendium we have an anthology of never before released horror stories from 14 excellent writers. Check out the table of contents below:

“Water Wench” Corey Farrenkopf

“Beware of Banana Trees” Joni Chng

“The Side Room” Sarah Budd

“Sunny Day Grocery” Sadie Hartmann

“The Knock-Knock House” Elford Alley

“The Car that Takes People to Heaven” Greg Sisco

“Once You See It” Joe Koch

“The Perfect Recipe for Homemade Bread” Kenzie Lappin

“Mirror Mirror” Mark Allan Gunnells

“Seven Minutes in Heaven” Vivian Kasley

“Lost Grad Class 2003” Laura Keating

“The Tattoo” Katie Young

“He Followed Me Home” Brennan LaFaro

“The Hags of Merricktown” Yolanda Sfetsos

The Northern Lights – Greenland

Broad bands of color light up the nighttime sky, glowing green, red, blue, and yellow in streaks across the northern horizon. Sometimes the light comes as a single, straight ribbon like a nocturnal rainbow. Other times, the sky lights up with multiple waves twisting, turning, and even shooting off into space in brilliant spiky rays. Many cultures had explanations, whether the goddess of the dawn slipping eastward to the Greeks and Romans, thousand-mile-long dragons to the Chinese, or the Norse seeing reflections from the armor of the Valkyries escorting heroes for Ragnarok. To the Inuit people of Greenland, the northern lights aren’t reflections but the literal souls of the departed.

The aurora glows as a path marked by ghostly torches that show the way to heaven. Just as hidden caves allow people who can find them to climb below the earth, these lights mark the passages through the sky that will allow a soul to ascend to heaven. Only those who accept their deaths, dying with honor or victimized with violence, can follow the path laid out by the guardian spirits and other souls waiting on their families. The souls who died while weighed down by evil will lose their footing in the sky and fall back to earth or even to the dark depths of the underworld.

Many of the souls along the path are those who did not have a chance to live a life at all. Stillborn children wander the skies to dance and play games that they otherwise would miss out on. Their favorite game is one akin to modern soccer where they kick and throw a ball back and forth across the sky, leaving great ribbons of light in their wake that we living see as the aurora borealis. Careful listeners can even hear the whistles of their songs and smacks of the balls as the unborn spirits play.

Though it may seem innocent, Greenlanders warn to never whistle back at the aurora or otherwise catch its attention. At first, it will seem innocent as the aurora will grow bigger, closer and closer. Soon the round faces and long spectral hands of the spirit-children become visible, smiling and laughing as they approach. Their impossibly outstretched arms will reach for the person who called out to them, but instead of a hug, the spirits’ grip settles around the person’s head. With an unbreakable grip, they wrench the head off the person’s neck, letting the blood drain so that they can take it back into the sky as a new ball for their game. The newly dead, lingering over its body, is left in the dark.

The aurora borealis, as skeptics may say, is the phosphorescent glow of ionized particles from solar wind striking our magnetosphere. More than light, the aurora can be heard making the sounds of whistles and crackles just as told in the Inuit stories. For centuries, scientists believed these sounds to be a myth, saying there must be other explanations such as breaking icebergs echoing in the extreme cold. When researchers finally distinguished the sounds of the aurora from local sources, it proved that folklore is often more real than we think.

-Jeff Provine, editor of A Compendium of Creeps

Hell, Delaware


Now Available! Order the eBook and paperback here.

Go to Hell!

No, really. Head on over to the lovely beaches of Hell, Delaware, where the horrors of our world come to light. Behold our famous wild horses in “In the Shadow of the Equine.” Bask in the sun and experience our many eateries, or enjoy some home cooking like we see in the story “Frog Song.” 

We have arcades and mini golf and demons, like those in “Roadkill,” or witches like our delightful host, Nula, as well as some scenic water parks. Our history is rich in mining, with stories dating back to the Old West like “An Unfortunate Night at the Oakwood Theater” and “Rage,” and science like experimentation in genome editing as we see in “Fat Green Rat,” as well as demonology—Lenny and Thomas are sure to delight. 

We have it all. All of it! The fire and brimstone and death and decay, bodies strewn across the landscape, blood soaked into our soil, becoming one with the evils of this world. We will kill— 

Oops. Sorry about that folks, I’m feeling better now. 

Anyway, take your family on a wonderful getaway to the wonderful Hell beaches. It will be the last vacation you ever take. We’ll make you suffer for all eternity.

“Kenneth W. Cain’s Hell, Delaware is small town horror at its best. The terrors within its borders are rife with irrepressible tension and impending dread. An incredible collection of stories that will stake a claim in the fertile earth of your psyche and cultivate your deepest, darkest fears!”

Ronald Kelly, Author of Fear, Undertaker’s Moon, and The Essential Sick Stuff

The Briars



The Briars eBook is now available for preorder here. To be released May 9th.

Former ballerina Claire and dominatrix Ruby work at the Briars, a commercial dungeon in Los Angeles, which has been haunted by the benevolent spirit of its founder since her death in the 1990s. Yet with the arrival of a mysterious new submissive, the ghost’s behavior turns dangerous. As employees are injured, clients scared off, and the women’s livelihoods threatened, Ruby and Claire must work together to uncover the ghost’s sinister secrets.

Ruby and Claire enlist the help of their fellow sex workers to stop the increasingly violent ghost, and the women draw on their sisterhood as they take the offensive against their supernatural adversary. Meanwhile, the explosive chemistry between Ruby and Claire disrupts the identities both women have carefully constructed for themselves, and leads to a deep connection they will fight to preserve.

As the ghost’s identity and its darkest intentions come to light, Claire, Ruby, and the other women at the Briars must access an inner strength they never imagined they possessed in order to save their dungeon, the women they love, and themselves.

“With THE BRIARS, Stephanie Parent delves fearlessly into an exploration of desire and darkness, deftly weaving threads of urban modernity, folklore, mystery, and romance into a tapestry that is both compelling and harrowing. In a world dominated by men’s wishes, Parent brings female relationships to the forefront, celebrating love, sisterhood and women’s strength. Superb and spellbinding!”

Antonia Rachel Ward, author of Marionette

“Stephanie Parent’s THE BRIARS will completely decimate you.”

Robert P. Ottone, author of The Vile Thing We Created and Nocturnal Creatures

THE BRIARS is a novel of rare quality. Equal parts raw, thrilling and brilliant, Stephanie Parent crafts a thoroughly unique ghost story told in a BDSM dungeon where some of the most terrifying ghosts are the phantoms of who its employees used to be. Haunting, romantic, and exquisitely beautiful, do not dare to skip this book.”

Zach Rosenberg, author of Hungers as Old as This Land and The Long Shalom

How to Evaluate a Micro/Small Genre Press as a Prospective Author


If you want an experienced author’s perspective I’d recommend checking out Chad Lutzke’s recent essay on the topic here. The following will overlap in many of the same areas, but I hope to add some insight from a publisher’s perspective.

It’s probably useful to differentiate between ‘micro’ and ‘small’ presses. A micro press tends to release a handful of books a year. A small press tends to have monthly releases, year in and year out. However, the number of releases might be very misleading. A specialty micro press might bring in a ton of revenue and have their act together, while a small press might be an author mill perpetually on the verge of collapse. There are a variety of ways to figure out if a press is drawing eyes and driving sales, and whether or not they might be a good fit for your book.

Goodreads and Amazon ratings and reviews numbers are a great way to make a broad guesstimate at sales numbers. Admittedly, there are many different ways to sell books i.e. brick and mortar, crowdfunding, book clubs, book boxes, in person – that a small press might have a good track record with, which won’t necessarily show up in these numbers. Typically you’d like to see a number of a press’ releases hitting 50+ Amazon ratings, 100+ Goodreads ratings. You’d expect a book to have sold a minimum of a few hundred copies at about 100 Goodreads ratings. Again, this number could be very misleading if the press is constantly giving away eBooks for free.

[50+ Amazon reviews/ratings is an arbitrary number. It just means there are at least a couple dozen honest reviews in the mix. Publishers and authors can typically generate a dozen or two ‘friendly’ reviews for each release. It’s a myth that getting x number of reviews on Amazon triggers special promo on the site.]

Is a press routinely giving away its authors’ books? Select giveaways, running limited promotions, and limited exposure freebies are all key elements of book promotion. However, you don’t want a press using your book to broaden their footprint. What does that mean? A press shouldn’t presale your ebook for $0.99 or keep it at $0.99 in the months following release. Your release months are the best chance you will have at generating royalties for your book. A press shouldn’t give your ebook away for free without compensating you for those units. You’re a debut author and a press is going to use your book to drive sales for their other books? Worse. A press is going to generate access and engagement and a readership, for their future or past books, off of your hard work? C’mon, Bart, say the line about exposure!

Royalty rates and advances are confidential, or ‘industry standard’. There’s nothing preventing a press from stating a range of advances or royalty rates in its open calls. Authors with readerships get paid higher advances than debuts, and can at times command higher royalty rates. ‘Industry standard’ royalty rates are typically under 50% to the author – if the press is a big industry player – but those presses tend to pay out big(ger) advances. A small press should offer royalty rates 50%+ to the author and also pay an advance.

Professional advances: $1500-6400 for novellas, collections, novels per HWA and SFWA rates. $.05-$.08/word 30k-80k words.

It’s exceedingly rare that you’ll get a ‘pro-rate’ advance from a small press — but if a press isn’t paying any advance it might be an author mill. Regardless, this press is telling you it’s unwilling to invest in you beyond the cost of a book cover if they can’t guarantee you some amount, even if it’s just a few hundred dollars – sure they’re investing their hopes and dreams into your book selling…somehow, someway.

Who are the cover artists a press is working with? Do you like their style? Can you imagine your work done in that style? Would you/have you bought books from this press because of the covers? You likely won’t have much say in the artist who is chosen, though you should have input in the elements of the cover.

How many books does the press have in print? This is something that should take only a few minutes to find out by visiting their website. How often do they publish? Have you heard they’ve signed a number of new authors for the following year, yet they only have a handful of books in print? This is where new presses tend to miscalculate. There’s a common publishing fallacy that earnings scale at predictable rates based on the volume of releases. If someone released 4 books in year 1 and earned $4,000 they seem to believe they’ll earn at least $10,000-12,000 if they release another 8 books in year 2. Some books earn nothing, some earn well, every once in a while a book will earn very well. It’s not at all predictable. If a press is writing checks based on future earnings they may have a real problem when it comes time to pay a cover artist on book 6, or when book 2 and 3 authors are due their royalty payments at the same time the author of book 7 is due their advance.

Say you’ve done your homework on a publisher and have submitted to an open call. The publisher wants to offer you a contract for your book, and now you’re on the inside. What should you be asking the publisher that you’re about to enter into an agreement with?

First off, have someone who has signed publishing contracts help you evaluate your contract. What is the publisher asking for, and what are they offering in return? Before they even send you a contract, ask them to give you the bullet points in plain language, so you can then look at the contract and see if the plain language is being expressed in the contract language. You can ask for language to be changed if it seems weird or if the publisher can’t make an argument for its inclusion in the contract. There is no perfect contract. Often a contract is missing language on how/when an author is to be paid. The language should be explicit about when you can expect your advance and when you can expect your royalty payments.

Ask your prospective publisher how many copies of your book they think they can sell in the first 12-18 months, based on past performance of similar titles! An advance should clue you in to how many units they think they can sell. If you’re given a $500 advance and it costs $300 for a cover, the press needs to move about 300 copies earning $3.50 per unit just to break even on those two expenses – assuming they’re paying you a fair 60% royalty. A quality editor can cost anywhere from $300-1000 based on the length of the work. So tack on another 100-200 copies sold.

[A publisher should be pricing their books to make $2-4 per digital unit, $3-5 per paperback. A pub should be willing to let you know how much you earn together per unit sold. Anything less you’re kind of just spinning your wheels. Imagine selling 500 copies of your book and only making $800 and your share of that is $480. Less than $1 per book!]

Where do most of the book sales occur? Do they have distribution or ‘distribution’ for their paperbacks? How much do they rely on digital sales(eBooks)? Brick and mortar by itself isn’t going to do the job. The sales makeup for a small press should be closer to 50% digital now. Listing a book on Ingram or Amazon isn’t a skill set. Proper distribution for paperback involves partnering with a company that has a legitimate pipeline into institutional and retail sales outlets. You will have a salesperson from the distributor actively trying to sell your book into places, something a press can’t do by themselves at volume.

[To have a successful book the traditional way you’ll often need an agent to say yes, multiple editors and finance types at a press to say yes, and then have a distribution salesperson say yes to championing your book to booksellers – who also have to say yes to stocking your book.]

What is the timeline for your book’s preparation and release? A small press should be nimble enough to give you a release date approximation and then an update as soon as they know they won’t be able to meet that date. How do they generate reviews? How many physical ARCs are they willing to send out? Blurbs, forewords, and a friendly-with-the-press ‘review squad’ are all window dressing. Every release needs new reviewers. A press’ promotional purpose is generating reviews that lead to sales, and a successful press will draw interest from reviewers who’ve never before reviewed one of their books with each new release.

A publisher should be motivated for your book to earn out your advance. There’s nothing more motivating for a publisher when they’ve invested $1000 or $3000 into a book.

Finally, ask multiple authors about their experiences with the press. Every press will have an author or two that’s unhappy. Some books just don’t sell. Ask a few if they’re happy with their book’s performance with the press. It’s such a simple question and not all that invasive. If they’re amiable, ask them what they think their press could have done better.

There are publishers willing to muddy the waters, fudge their sales numbers, reach, and abilities. Don’t be friends with publishers you hope to work with. Actually, don’t be friends with publishers you’re working with. You should be able to tell if a pub takes the business seriously after a few questions. If they tell you not to worry, take a long time getting back to you after offering a contract, they’re not taking you or your work seriously.

Publishing is too often an ego stroke. You see it in real time, a new pub just signing author after author, getting all this social media attention. Sending in Publishers Marketplace deals one after the other when they don’t use the site for any other professional purpose. Folks that have yet to publish a single-author title getting mentioned in the same breath as pubs that have been around 10-20+ years. It’s silly. Success in publishing is nebulous, fleeting. In the short term it’s a faddish popularity contest; in the long term publishing outfits go away and are utterly forgotten while, hopefully, some of their authors go on to have long, lauded careers.

PS. It’s a big financial risk publishing other people’s work. You can try your best and fail and also not screw your authors. It takes thousands of dollars to start a press and you have to be willing to lose all that money, so we have respect for anyone who tries to do this with the best of intentions. We’re in the midst of a very uncertain economic climate and many publishers fund their presses from their day job earnings. Every year a few presses go under following day-job layoffs. They then pay royalties owed and release authors from contracts, reverting their rights. They aren’t bad people for having a failed business.

PPS. Amazon rankings in most categories are super shallow on volume. If you’re top-20 in almost any subcategory it just means you’re consistently selling a dozen copies a day. You aren’t going to drive so many additional sales from that ranking that the $0.99 presale and post release is going to be worth it. Small press publishing is a battle of attrition. You as an author and your pub do everything you can to keep it in front of readers’ eyes, eventually some good review or recommendation, seeing the book cover so many times triggers a sale months, years after release.

PPPS. 2022 might be the calm before the storm. You might be thinking, wait, 2020-2022 hasn’t exactly been calm sailing in the publishing world. Big presses trying to merge and getting rejected, paper shortages, inflation everywhere, tightening reader budgets, etc. Horror and SFF have had a major surge in popularity in the last five or so years. 2023 is shaping up to be very challenging for indie publishing. A looming recession paired with a cooling off in interest in genre books will shake out a lot of weak hands.

PPPPPPPPPPPS. I thought it was worth mentioning what the role of an author is in promotion of their work. The publisher is absorbing a ton of No’s on behalf of the author, putting up good money to produce a nice book and promote it. Ultimately the book represents you, the author, and you’re only going to go so far as you’re willing to promote yourself. If you can’t find a reason to post about your book once a week for the first few months after release, and then at least once or twice a month for the first year, you’re only hurting your chances at growing your readership and career. You only have to look to the writers you admire who’ve ‘made it’ to see that no matter where you are as a writer, you’ve got to be tireless in self-promotion.

Christmas at Wheeldale Inn


A new novella from Gemma Amor, now available in paperback and eBook here!

Christmas Eve. A horse-drawn coach battles its way through a terrible snow storm, travelling the old Roman road that cuts across Wheeldale Moor. The carriage bears the miserable burden of Mr. and Mrs. Wilcox, a formerly well-to-do couple now fleeing London and the threat of debtor’s jail, for Mr. Wilcox has been imprudent with the family fortune. 

Not that Mrs. Wilcox cares much for money. She is still grieving a great loss, a loss that cannot be replaced with any number of riches. 

As the weather worsens, the carriage is overturned, with deadly consequences. Mr. and Mrs. Wilcox find themselves out in a freezing storm, lost, injured and penniless upon the moors. Salvation comes in the form of Wheeldale Inn: the highest public house in Yorkshire. An isolated sanctuary, yet a peculiar one. The Innkeeper seems welcoming enough, but oddities abound: a corpse, a silent son, a surfeit of victuals, and memories that come and go at a whim.

As the intrepid guests settle in, they realise all is definitely not as it seems at Wheeldale. Both husband and wife are forced to confront truths about themselves, their past, their present, and their future in the most terrifying of ways. Will Christmas Day be a happy one for the Wilcox family, or will Wheeldale disrupt their lives so completely there is no coming back?

Gemma Amor is a Bram Stoker Award nominated author, voice actor and illustrator based in Bristol. Her debut short story collection Cruel Works of Nature came out in 2018. Other books include Dear Laura, White Pines, Six Rooms, Girl on Fire and These Wounds We Make. Her traditionally published debut, Full Immersion, was released in 2022 by Angry Robot books.

Gemma is the co-creator of horror-comedy podcast Calling Darkness, starring Kate Siegel, and her stories feature regularly on popular horror anthology shows The NoSleep Podcast, Shadows at the Door, Creepy, The Hidden Frequencies and The Grey Rooms. She also appears in a number of print anthologies and has made numerous podcast appearances to date, illustrates her own works, and hand-paints book covers for other horror authors. She narrates audiobooks, too.

Campfire Macabre: Volume 2


Order the paperback or eBook here! Released October 11th.

The second volume in our flash/short horror anthology series. This time the themes are: My Last Trick ‘r Treat, Body Grotesquerie, We Were Getting High, Ominous Visitors From Deep Space, and Out in the Fields, Forests, and Lakes. Cover art and design by Luke Spooner at CarrionHouse.com.

Here is the complete table of contents:

My Last Trick ‘r Treat

“Candy Corn Kid” Angela Sylvaine

“Blow Me a Kiss, Said the Jack o’Lantern” Scott Cole

“Knot House” Anthony J. Rapino

“9:03 PM” Jeff Provine

“Before I Let Go” K.S. Walker

“Last Halloween” S.H. Cooper

“Who Are You Supposed to Be?” Patrick Barb

“Welcome Back My Friend” JG Faherty

“This is Not a Haunted House” Tiffany Michelle Brown

“Mr. Sprinkles” LP Hernandez

Body Grotesquerie

“Siren” Zach Friday

“How To Love In An Apocalypse” Ai Jiang

 “scratch ‘n sniff” Clay McLeod Chapman

“A Mother is a Kind of God” Eric LaRocca

“A Feast for One” Marisca Pichette

“The King of Rooms” Jessica Ann York

“The Claw’s Blessing” Eric Raglin

“Five Visitations” Joe Koch

“Penelope’s Body” Ali Seay

When We Were Getting High

“Of Bongs and Birds” Corey Farrenkopf

“Corkscrew” Chad Lutzke

“The Farmer’s Son” J.A.W. McCarthy

“No Sticks, Some Seeds” John Lynch

“Outbuilding” John Boden

“Out at the Old Trestle” Christi Nogle

“Trip Sideways” Tyler Jones

“We Are All Stars” Wile E. Young

Ominous Visitors From Deep Space

“Never Go in the Attic” Stephen Kozeniewski

“When an Alien Calls” Bev Vincent

“Funny Faces” Eric J. Guignard

“To Become” Eddie Generous

“Indrid Cold is Alive and Well” Tom Deady

“The Room” L. Marie Wood

“The Joining” Michael Harris Cohen

“Greenglow” Jonathan Duckworth

Out in the Fields, Forests, and Lakes

“The Heart of the Everglades” P. L. Watts

“Outside” Tim Waggoner

“Farm Hand” Joshua Marsella

“We are all lost” Die Booth

“Off the Beaten Path” Mark Allan Gunnells

“Catamount” Brennan LaFaro

“Danny Boy” Robert Ford

“Lakebottom Charlie” Laura Keating