Barb Goffman: A Success Story

Barb Goffman

Barb Goffman is a highly successful short story writer. Her work has appeared in many magazines and anthologies and she has been nominated for just about every prize there is for writers of short mysteries–and won many of them!!

Her style is different from that of last month’s guest writer, John Floyd, but her commitment to her work is just as intense. If you don;t know her work, read it!

This successful and talented woman has kindly agreed to share with us. Here are her answers to the What Editors Want You to Know, questions.

Joan: When did you start writing? What drew you to the short story form and what keeps you writing short stories? Do you write short stories in other genres besides mystery?
Barb: I started writing mysteries in 2001, but that was a novel. I started writing crime short stories in 2004. I tried writing my first short story because my Sisters in Crime chapter had an open call for stories for an anthology, and since the number of people who could submit was limited (to chapter members), I thought I might have a better chance of acceptance than an anthology that could get hundreds of submissions. I also thought that having a published short story could help when I eventually tried to get my novel published. It turned out that I loved the short-story form and have concentrated on it since. I love the fast turn around–I can go from idea to story completion in a matter of days (assuming I have the time to write). I love that a story can be submitted without an agent, then accepted and published in a matter of weeks or months, rather than years that a novel could take. And I love that the short story allows me to write so many different tales in the time that one otherwise would take. For someone who used to be a newspaper reporter, especially, the short story is a good fit. As a reporter I wrote a new article every day. A short story fills my same inclination to start and finish quickly and always have something new to work on.
As to other genres, I stick to crime/mystery (and that is a broad category that includes cozy, traditional, thriller, suspense, noir, police procedural–I write them all), although sometimes I will write cross-genre, meaning I add in elements of another genre, such as magical realism or horror, to my crime story. I love magical realism. It can be a lot of fun.
Joan: Do you write other forms as well? (blogging, articles, essays, novels, poems?) Do you focus on crime/mystery in these other forms?
Barb: I blog every third Tuesday at My posts there usually address writing, especially writing related to crime short stories. I’ve had posts addressing opening lines, reasons short stories get rejected, and the inspiration behind my stories, among other topics. As I mentioned above, I also have written a novel. It is one edit away from being ready to be sent out, but it sits in a drawer. I’m much more interested in writing short stories.
Joan: You have been widely published and widely awarded in the mystery field–what advice do you have for writers entering contests?
Barb: I don’t enter contests. Contests often charge entry fees, and I believe that money should flow to the writer, not away from the writer. With a contest, while the winner and maybe a runner-up or two might get some money, everyone else is merely paying for the chance to be considered. A lot of these contest organizers will publish an anthology with the winners and some of the also-rans, but the also-rans get no payment; the publisher gets to keep it all the income, and the writer gets exposure. That’s not such a great deal. As the saying goes, you can die from exposure. If you’ve taken the time to write a story that you hope someone else will publish in an attempt to make money, that publisher should be willing to share with you the income he/she makes using your story.
That said, early in my career I did enter two contests. In one case the entry fee was low and I was willing to pay for the chance to get into that anthology. (I didn’t. Goodbye ten dollars.) In the other there was no fee to enter. The authors of the top three stories won things (a Kindle, I think, and other items). The remainder of the top ten got their stories published, but there was no payment. I was willing to take that chance because I’d written a middle-grade story and had been having a hard time finding submission venues. So I was willing to ultimately accept publication without payment. I’ve also accepted publication without payment when the proceeds are going to charity.
Considering all this, my advice is to start submitting your story to the best venues you can. You never know when it will be accepted. If you ultimately decide that you’re willing to pay to submit to a contest, or that exposure is good enough payment for a particular story (and I recognize that the newer you are, the more exposure has appeal), be sure to read the submission rules carefully and follow them. Don’t disqualify yourself from the get-go.
Joan: Advice for writers submitting to large national magazines  Ellery Queen and others? For those submitting to anthologies?
Barb: I have the same advice for all submissions: Write the best story you can, let it sit after you’re done (a day, a week, a month–you’ll have to learn what works for you) so that when you come back to read it, it will be with fresh eyes. Then edit. Rinse, repeat. Find someone trusted to read your stories and tell you what works and what doesn’t. Edit again until you really think it’s good. Don’t get so excited about your wonderful story that you send it out too soon, only to kick yourself later when you read it with fresh eyes and think, Oh, I should have done, X, Y, and Z. (I’ve been there. It’s annoying as hell.)
Then when you are ready to submit, make sure you follow the instructions. As I said above, don’t disqualify yourself from the get-go because your story is 100 words too long or you didn’t set your margins properly. And don’t think pesky submission rules can be disregarded. Sure, it might just take you thirty seconds to fix your margins, so surely the editor could do it after she accepts your story. But imagine the editor having to do that for every story. And not just fix the margins but fix the indents and the font and the font size and … and you should get the idea why editors give rules for manuscript formatting at the outset. Even if your story is the best story ever written and you know the editor will take it even if you don’t follow the rules, you still should follow the rules because you want the editor to think you’re someone easy to work with, not a prima donna.
Joan. Can you name some of your favorite magazines to read and to submit to?
Barb: Here are some for mystery fiction: Ellery Queen’s Mystery MagazineAlfred Hitchcock’s Mystery MagazineBlack Cat Mystery MagazineFlash Bang Mysteries (which is an e-zine).
Joan: What writing organizations do you belong to and why for each one? (Benefits you receive and skills you contribute to each, please)?
Barb: I belong to Sisters in Crime (and its Chesapeake, Central Virginia, and Guppies chapters), Mystery Writers of America (and its Mid-Atlantic chapter), and the Short Mystery Fiction Society.
Sisters in Crime was the first organization I joined after I started writing mystery fiction. I love how it gave–and gives–me the chance to meet and become friends with other crime-fiction authors and to learn from writers and subject-matter experts at monthly meetings. Plus there are field trips, the ability to meet critique partners, the chance to submit to anthologies, and so much more. My first mystery publication was in a SinC Chessie anthology! I’m a lifetime member of Sisters in Crime, and it is money well spent. What do I contribute to SinC? I’ve been president, secretary, and newsletter editor of the Chessie Chapter. I currently am the Chessie Chapter election chair and I help out the board as needed, including working with a great subgroup putting together a workshop for this June 2nd on reinventing your mystery career. I also co-edit the Chesapeake Crimes anthologies with Donna Andrews and Marcia Talley.
What I love about SinC is also what I love about MWA: attending monthly meetings, seeing and learning from other authors and subject-matter experts. As with SinC, I’ve also been actively involved with my local MWA chapter. I served as secretary for a few years. Now I am the chapter’s election chair. (Between MWA and SinC I run all the mystery elections in the Mid-Atlantic area. Ooh, the power. Just kidding. Maybe.)
The Short Mystery Fiction Society is an online group from which I learn a lot about writing and writing calls, and I try to weigh in when I can. This group also gives out the Derringer Awards and has made great strides in promoting short mystery fiction. It’s a wonderful organization.
Joan.:What writing conferences have you found most helpful to you and why?
Barb: I haven’t been to a lot of writing conferences–a conference being a multi-day craft event aimed at helping authors with their writing and with getting published. One that stands out is Sleuthfest, which is held in Florida. Not only did it have good classes, but I had an experience there that I later used as a jumping off point for what became my first published short story, “Murder at Sleuthfest.” (No, I didn’t kill anyone at the conference, though I was tempted. You’ll have to read the story to find out why.)
The sadly defunct Tony Hillerman Writers Conference was another one I really enjoyed. I learned about writing and gained confidence and met some great authors, including Sandi Ault–a wonderful writer and teacher–and Craig Johnson. Plus I got to go to New Mexico!
As a teacher, I’ve participated in Deadly Ink, which is a combination conference/convention. The first day is devoted to teaching craft. The next two days are devoted to fan-oriented panels. A few years ago I taught a short-story class with Donna Andrews at Deadly Ink, and it was really rewarding. Deadly Ink is held each summer/fall (the date changes sometimes) in New Jersey, and especially if you live in the Mid-Atlantic/New York City area, it is worth checking out.
I also attend two fan conventions every year: Malice Domestic and Bouchercon. These conventions don’t have panels devoted to teaching you how to write, but you still can learn about the industry by hearing authors talk (on and off panels), and authors will sometimes give writing tips on panels too. These conventions also give me the chance to meet readers, which is so important. I love to write, but I love being read, so it’s great to be able to meet people who are interested in what I write and to meet people who have read what I’ve written and want me to write more. That’s a high that’s hard to describe. Finally, both Bouchercon and Malice have anthologies associated with them. I’ve had a story published in one Malice anthology and one Bouchercon anthology. I especially love that these books will likely be read by people who read exactly the kind of stories I like to write, so I’m grateful for the chance to submit to them when I have the time.
Joan: If something of yours is rejected to you save it and re-purpose it for another market? Examples?
Barb: Sure. You need a thick skin in this industry. Not every story will be accepted on first submission. Sometimes it means that the story needs work. Sometimes it simply means that the story wasn’t a good fit for the anthology or magazine in question. (Sometimes both.) But you shouldn’t give up.
Here’s a perfect example: I wrote my short story “Bug Appétit” for an anthology of Thanksgiving food/crime stories, but the editor passed because he felt that the story wouldn’t be a good fit for an anthology that people likely would be reading on Thanksgiving, perhaps between meals or while eating appetizers. (The story title might give you a hint as to why he worried about readers’ reactions.) But I turned around and submitted that story to Ellery Queen’s Mystery Magazine. They took it, and editor Janet Hutchings called it “one of the best holiday stories I have ever read.” That story was nominated for an Agatha Award and is currently nominated for the Anthony Award.
Joan: Have you ever served as a writing contest judge or an editor? What advice can you offer from that perspective?
Barb: Yes, I’ve done both. My advice, as I’ve said earlier, is to follow the submission instructions. If you don’t do that for a contest, your story might be disqualified without being read. Such disqualification could happen with an anthology or magazine too. But even if it doesn’t, seeing an author didn’t bother to follow the guidelines would make me worry that this person might not be easy to work with. And life is too short to work with difficult people. Moreover, the more an author doesn’t follow the guidelines, the more work I have to do to get the story into shape, and the more I might be inclined to instead accept a different story, one that wouldn’t take as much effort on my part to get the story ready for publication.
Rules aside, remember also that contest judges and editors also are readers. They are looking for good stories. They want to be entertained. Don’t lose sight of that.
Joan: What is the best piece of advice you ever received as a writer and what word or words of advice would you like to pass on to other writers? Anything else you wold like to add that I did not ask about?
Barb: Good advice I’ve received, practiced, and given: read, read, read. The more you read in the genre you’re going to write in, the more you will become immersed in the genre’s standards. You also will begin to see what works and what doesn’t, plot-wise and writing-wise.
One more bit of advice: Enjoy the journey. Sure, we all write to be read. But it might be a while from when you start writing to when you get published. And some stories might never get published at all. If you’re only in it for the publication credit at the end, you could get discouraged. Writing could become a slog or a chore. But if you enjoy the process of writing, the process of creation, you’ll be so much happier. So don’t let yourself get so wrapped up in the end result that you can’t enjoy the actual writing. After all, you got into this field because you like writing, right? Don’t lose sight of that.


Joan: Thank you, Barb, for all of this excellent advice!

John Floyd

It is most appropriate to have John Floyd as my guest this month–short story month. John is the most prolific, published and paid short story writer I know. His carefully crafted pieces garner many awards while also being placed in magazines like Woman’s World, Saturday Evening Post, Ellery Queen, and a host of others. Hearing from a top short story writer like John, shows us that someone who is talented and works hard can succeed in placing their work, deciphering what editors want, and get paid for the effort.

John Floyd is as gracious as he is talented and consented to be interviewed. You can find other bits and pieces of his advice on writing by simply googling his name–and if you do that you will pull up a mind-boggling list of his accomplishments. So, without further word from me, may I present, John Floyd!

1. When did you start writing? What drew you to the short story form and what keeps you writing short stories? Do you write short stories in other genres besides mystery?

John: I started writing in the late 80s, and finally—after my wife talked me into it—began submitting stories for publication in 1994.  I think what drew me to short stories was a love of those little anthology series on TV long ago: Twilight Zone, Alfred Hitchcock Presents, One Step Beyond, Death Valley Days, etc.  I liked the fact that they featured stories that could be told, start to finish, in half an hour or so.  And yes, I’ve written and published stories in all genres—but most are mystery/suspense.

2. Do you write other forms as well? (blogging, articles, essays, novels, poems?) Do you focus on crime/mystery in these other forms?

John: I’ve written and published a number of articles and essays, but usually only when editors have requested them, and I’ve written three unpublished novels and (believe it or not) over 300 published poems in places like EQMMGritFarm & Ranch Living, and Writer’s Digest.  As for blogging, I posted a column every Saturday for four years at the mystery site and for the past eight years I’ve written a column every first, third, and fifth Saturday at  And yes, most of my other forms of writing have been focused on mystery/crime.

3. You have been widely published and widely awarded in the mystery field–what advice do you have for writers entering contests?
John: I used to advise my writing students to save their stories for paying publications instead of entering them in contests.  The odds of selling a story to a respectable magazine or anthology are usually better than the odds of winning first place in a contest—and I don’t like the fact that many contests charge entry fees.  But a lot of writers disagree with me, and happily enter every contest they can find.  Different strokes for different folks.

4. Advice for writers submitting to large national magazines like Women’s World and Ellery Queen?

John: Don’t let the circulation and reputation of these big national magazines intimidate you.  They still want and need good stories for every issue.  Send in your best work and see what happens.

5. Can you name some of your favorite magazines to read and to submit to?

John: My three favorite magazines to read (AND to submit to) are AHMMEQMM, and Strand Magazine.  Other favorites are Black Cat Mystery MagazineFlash Bang Mysteries, and The Saturday Evening Post.

6. What writing organizations do you belong to and why for each one? (Benefits you receive and skills you contribute to each, please)?

John: I belong only to the Short Mystery Fiction Society and Mystery Writers of America.  I like SMFS because it’s focused on short stories and because of the information shared there by fellow writers; as for MWA, I enjoy their Third Degree magazine and on several occasions I’ve participated in MWA-sponsored workshops and events.

7. What writing conferences have you found most helpful to you and why?

John: The only conference I attend regularly (though not as regularly as I should) is Bouchercon.  Many complain that it’s too big to be effective, but I always enjoy the opportunity it offers to meet readers and other writers, and to reconnect with old friends.


8. Do you have an agent? Do you feel an agent is helpful for short story writers or short writers putting together a collection?

John: I do have an agent who represents my novels and, occasionally, some of my stories.  He also handles any film projects that result from the stories.  In general, no, I don’t think short-story writers need an agent.

9. Have you ever served as a writing contest judge or an editor? What advice can you offer from that perspective

John: I have judged about a dozen fiction-writing contests, and have edited one anthology of short mystery fiction.  My advice, on the judging, is to make sure you have time enough to do that, before you commit—some of those contests involve a huge number of manuscripts.  The same goes for editing anthologies, and also be ready for some arguments with contributors about changes to their stories.  Some writers are a pleasure to work with; others are not.

10. What is the best piece of advice you ever received as a writer and what word or words of advice would you like to pass on to other writers? Anything else you wold like to add that I did not ask about?

John: The best advice I’ve received (and the best that I could pass on to others) is DON’T QUIT.  A professional writer is just an amateur writer who didn’t give up.  Other advice: Read as much as possible, in every genre; write something, or at least think about plots, every day; never pay ANYone ANYthing to consider or publish your work; learn the grammar rules and then break them if you need to; submit regularly to the big markets; let your finished stories “cool off” for a few days before submitting them; don’t use too many exclamation points; and read any interview conducted by Joan Leotta!!!


On the Premises

I’ve had to space these a bit father apart than one per month –hope to be up to one per month by summer. In the meantime, here is some good information from Tarl Kudrick and Bethany Granger Co-publishers of “On The Premises” magazine

They are wonderful to work with and their magazine is a market many of us in crime fiction may not have considered.

Here is the interview and good luck, fellow scribes.

Who are your target readers?

Our target readers are fans of short stories who like multiple genres. We’re not a “science fiction” or a “literary” or a “crime/mystery” magazine, even though we’ve published stories that fit these descriptions. We deliberately select contest premises that can be used in almost any genre of story. We want creative, compelling, well-crafted stories that are built around the (deliberately broad) contest premise. We’re kind of like the “Iron Chef” TV show, but for fiction. We tell authors, “Here’s an ingredient that might be difficult to work with. Make something amazing from it.”

Are you print or online?

We’re 100% on-line. We convert older issues into PDFs which can be printed, but we don’t print them ourselves. We use the program “Submittable” to handle contest entries and communication with authors. We never want to know who wrote a story until we’ve decided if it’s going to be published, and Submittable lets us send emails to authors without learning who they are.

Are you open to crime fiction?

Any story, regardless of genre, needs to be creative, compelling, well-crafted, and built around the contest premise. Put interesting characters into interesting situations and go from there.

What are automatic turnoffs for you?

Automatic turnoffs: (1) Lots of syntax problems, like spelling and grammar, and also formatting that tells me someone’s struggling to use a word processor correctly. (2) Blatant melodrama, where characters are shrieking and crying and acting all out of proportion to what’s really going on in the story. (3) The moment when we can figure out what’s going to happen next–and we’re right–we lose interest. We get a lot of stories that are pretty well written, with interesting characters and everything else we’re looking for, but by page three we’ve figured out exactly where the story is going and we could pretty much write the rest of it ourselves. That’s always disappointing.

What magazines do you read?

I [Tarl] subscribe to Ploughshares and Tin House. I used to subscribe to Glimmer Train, but I felt the range of stories they started publishing got too narrow. I scan a ton of on-line fiction magazines when I’m looking for short stories to recommend to our readers via our free 10-times-a-year newsletter.

When are you open for submissions?

We hold short story contests (1,000 to 5,000 words) every June and December. We hold “mini” contests (for extremely short stories, usually a maximum of 40 or 50 words) in April, May, October, and November.

Anything else you would like to tell writers?

We offer thoughts and advice about short story writing in our 10-times-a-year (every month except March and September) newsletter. You can subscribe to it from a link on our main page,

Tarl Kudrick and Bethany Granger
Co-publishers of “On The Premises” magazine

Thank you Tarl and Bethany!



Go West!

Have you ever thought about writing a mystery that is set in the west? A real live western? If you love the old west (or the new west!) and want to write in that setting, you have another possible avenue for publication–magazines that cater to readers of westerns. This month’s interview is with Dennis Doty the editor of Saddlebag Dispatches

Joan: Can you tell us a little bit about your magazine–who are its target readers?

Dennis: Saddlebag Dispatches was the brainchild of the late Dusty Richards, author of over 150 western novels and past president of WWA. His vision was to create a world-class magazine where western writers new and old could showcase their work. Our target audience is both the baby-boomer traditional western fans and new young readers who might be reading a western for the first time. We look for themes of open country, unforgiving nature, struggles to survive and settle the land, freedom from authority, cooperation with fellow adventurers, and other experiences that human beings encountered on the frontier. We believe these themes resound with readers of all ages and backgrounds.


Joan: When did you start the magazine? Are you print and online or online only?

Dennis: Dusty and our publisher, Casey Cowan, released the first issue of Saddlebag Dispatches in the Fall of 2014. We are both a print and on-line magazine published semi-annually in Spring and Fall. Our Spring 2018 issue was a tribute to Dusty Richards, so we also made it available in a hard cover edition.

Joan: What do you think of mixing the crime and cowboy genres? What must a crime story have, in order for you to consider it?

Dennis: Crime has always been with us, so it fits well into a western story. For a crime story to be a good fit for us, it need only display one or more of the themes I mentioned above. The time period can be anywhere from post-Civil War to modern times where the cowboy spirit still lives. It should have an identifiable western theme of some sort, not just a detective story set in Fort Worth. An excellent example of this would be Michael McLean’s “Little Things” which appeared in our Summer 2018 issue and can be read here or Craig Johnson’s Longmire series of books.

Joan: What is an automatic turn off for you in a submission?

Dennis:  Obviously, poor writing will get a rejection. Dusty was a three-time Spur Award winner and our issues are liberally sprinkled with other Spur Award, Will Rogers, Buckle, and Peacemaker Award winners. Story is everything. If we get a compelling story is has every chance of getting published. If the story is set in the old west we expect historical accuracy and writers who fail to do their research seldom make the cut. If its a minor detail, our editors will make a correction but we do expect the writer to know their material.

 Joan:What magazines do you read and like?

Dennis: Unfortunately, between writing and editing, I don’t have the reading time I once did. If I have a chance to read, it’s usually novels or historical non-fiction. Magazines which can still catch my interest on occasion are Time, Newsweek, National Geographic, Mother Jones, and True West.

Joan: Do you have any upcoming calls for stories? Contests?

Dennis:We have a rolling submission period. Submissions for our Spring 2019 issue close on February 1st, but we are immediately open to submissions for the Fall issue. Submission guidelines can be found here: We don’t sponsor any contests at this time, but it has been discussed.

Joan:Is there anything else you would like to tell the readers of my blog? 

Dennis: We’d love to hear from your readers and writers. Does their hard-boiled detective wear a Texas Ranger hat? Was the crime they’re writing about committed on a Native American reservation? Who robbed the rodeo secretary? It’s an unfortunate fact that cattle rustling still happens, we just don’t hang ‘em on the spot anymore. If they have a story that’s a good fit for us, we’ll be happy to publish it among some of the best western writers of today.And of course, while the magazine only publishes Western themed work, we’re always on the lookout for good crime novels through our parent company, Oghma Creative Media


January:New Interview and Plan


Starting the new year by -defining the new dates for the blog–each monthly blog will appear between the first and tenth of each new month. This blog is an editor interview as most are–next month will have a “lessons learned /” from the blogs and then I will continue with editor interviews. The number of magazines using short fiction  for pay or with no pay has lessened over the years but there are still good markets out there for our stories–and editors who are working hard to bring our words to light. (Note: Will also try to figure out why wordpress is not allowing me to post pix saved to my computer. The cover shot of Blood and Bourbon, above, is a screen shot taken of the jpg they sent me.)

This month’s interview is with the editor of Blood and Bourbon, Phil Halton–I’ve not sent them anything yet, but the interview intrigued me–and I am putting them on my list of pubs to approach in 2019–after reading this, I think you will too.

Joan:Please tell us a bit about the history of your magazine and about the magazine’s goals present day? Particularly, can you define how your magazine differs from other crime magazines out there?

Phil: Blood & Bourbon was started in 2016 by Matt Lennox and myself. He had already published two novel’s traditionally (The Carpenter, Knucklehead) and I was pitching a novel to agents and publishers while also pitching short stories. We both realized how a relatively small number of “tastemakers” controlled what was and was not published, and felt that there was a lot of great work out there that was not getting picked up. We decided that Blood & Bourbon would be a place where we could provide a forum for the kind of work that we liked to read, but that was not getting picked up by mainstream publishers. In a way, we were banking karma as writers by helping other writers. Since then, we’ve met other writers and publishers and our team has grown.

We have a manifesto that outlines our goals as publishers, and as story tellers ourselves. We don’t like overly sanitized work about ideal lives – we like to take a raw, unvarnished look at real life instead. Blood & Bourbon has published a fair deal of crime fiction, but we don’t do so exclusively. We’re open to any genre (or no genre), as long as the writing piques our interest.

Joan: Do you pay your short story contributors?

Phil: We’ve gone back and forth on this, and so far, have not paid anything other than contributor’s copies. We value the work that writers do, and wish that we could pay them more. But as this whole project is essentially self-financed, we have to keep costs to a minimum. Getting to a position where we pay contributors is a goal of ours.

Joan: What are you seeking in general and what especially delights you in a manuscript submission?

Phil: We can tell pretty quickly whether or not something is going to be a good fit for us. We look for authentic and interesting voices, unique takes on clichéd situations, and stories that fit our idea of shining a light on “unvarnished” portraits of life.

Joan:What is an instant turn-off in a submission?

Phil: We’ve been pretty overwhelmed by fiction that depicts violence against women, typically the murder of a wife, ex-wife or girlfriend. While we recognize that these events are a grim part of our North American reality, we don’t enjoy reading about it. Brutal descriptions of domestic violence aren’t raw, gritty and unvarnished – they’re depressing. We choose not to publish depictions of domestic violence unless there is artistic merit that overcomes out initial feelings.

Joan: What are some of your favorite journals/magazines?

Phil: Toronto is blessed with a number of great literary journals, and other magazines who don’t focus on literature but who include it – the Walrus, Rusty Toque, and The Danforth Review among others.

Joan: How can writers contact you with questions and find out about submission calls?

We keep our website up to date, and that is the best way to contact us. ( We also make sure that our profile on Duotrope is accurate, as we are only open for submissions during two three-month periods each year.

Joan:Is there anything else you would like to say to writers who are considering submitting to you?

Phil:We can’t wait to hear from you and get our socks knocked off by your work! Just go for it!









In a Flash!

For a long time now, I have followed the Bath Fiction contests –I even made the short list once. Recently, I asked the Bath people if their upcoming flash fiction was open to mystery and if I could interview the man who was going to judge it. They agreed, and the judge, Michael Loveday, provided answers in a timely manner. However, dear readers, I allowed things in my life to delay the posting of the blog entry and for that I apologize. Fortunately, Michael’s thoughtful answers provide insights into the judging process, into the mind of a person asked to judge a writing contest that I think are useful not only for the Bath contests, but also to other contests we writers might enter. Lesson number one–it is good to get to know a bit about the judge.

So, here, for those writing for the new-ish category on Bath, the Novella in Flash Award, here is the interview with Michael and a bit of information about the contest. He also provided us with a link to an example of the form.

Bath Novella -in-Flash

Independent Judge: Michael Loveday
Closes: Midnight GMT January 14th 2019
Winners: Announced April 2019
Prizes: £300 first, two £100 runners-up
Winner and two runners-up published in a three novella collection

This is a contest with an entry fee and in a genre that is new to me, so I looked up novella -in-flash to discover what it is supposed to be.

Here are Michael’s Gracious answers. For those of you who like to see a judge, face to face, he did provide a photo but I am having some trouble posting photos at the moment. I do not want to delay any longer–you now have five weeks left to enter the contest.

In boca al lupo to everyone.

Joan: Please tell us a bit about the history of your writing career  and  how you came to be a judge? 

Michael Loveday: I started writing in 2001, mainly writing poetry. After a number of courses (mainly writing drivel!), eventually in 2009 I moved on to an MA in Creative Writing, focusing on the poetry pathway, and wanting to “become a poet”, whatever that meant. But one particular module called “Structure and Style” involved being forced to write in other forms. I wrote a short play, and some miniature stories. I absolutely loved and felt at home doing the stories. Although I still write and publish poetry, the short-short stories get written more easily, so they happen more often. As to how I became a judge, after I moved to Bath in 2016 I got to know Jude Higgins, who is based in Somerset and runs the Bath Flash Fiction Award and Flash Fiction Festival. I offered to help at the Festival, and also met Jude at her evening flash fiction events which take place every few months at St. James’s Wine Vaults, a pub just round the corner from me (I’m off there tonight in fact for someone’s poetry launch! – great to have a writing venue so nearby). Jude knew I had published a novella-in-flash, and I was passionate about the form. I was lucky and grateful that she asked me to become judge of the 2019 novella-in-flash competition.

Joan:What  are the top three criteria you think make a short mystery successful? Any short story?

Michael: Mystery stories aren’t a specialism of mine, so I’m not sure I’m any more qualified than a general reader to answer that first question. I do tend to prefer endings that seem to emerge organically from character and situation rather than gratuitous plot twists, but I’m not alone in that. As for short stories, I suppose (1) I look for well-crafted sentences written with complete conviction. My favourite writers often read as though there’s an electric current running through their sentences, the vocabulary is so vivid and specific, full of what Jennifer Peironi calls “smart surprise”. Secondly I do enjoy writing with a dash of rage or tenderness in it. And thirdly characters that defy convention – quirkiness, rebellion, madness… people who speak from the margins or who are misfits, round pegs for society’s square holes.

Joan: What are you seeking in general and what especially delights you in a manuscript submission?

Michael: When a really good manuscript arrives, it’s completely compelling from the start. It’s distinctive, contains the unexpected,  and uses fresh language to make you see its world and your own world in a fresh way.

Joan:What is an instant turn-off in a submission?

Michael: Not adhering to guidelines! And spelling errors, typos etc make it much harder for the manuscript to be successful. Don’t clip your own wings.

Joan:What are some of your favorite journals/magazines?

Michael:To be honest, there are too many to mention. Editors and journal administrators do a fantastic job, generally unpaid, and often underappreciated. I wouldn’t want to single any out. Here’s a great link that can lead you to many really good journals:

I also recommend getting to a local library or shop that stocks (print) magazines publishing fiction. Just browse, nurdle (sic) around and find ones that chime with your interests and style. And maybe buy one or two – support the industry you want to be part of!

Joan: Is there anything else you would like to say to writers who are considering submitting to this opportunity? 

Michael: The novella-in-flash is a very special form, a story arc built out of small, compressed narrative moments. Read a few examples (try some of the ones at this link and go for it!

Here’s the link to submission to the competition:

Thank you, Michael!







Yellow Mama Shows Her Colors

Cindy Rosmus, Editor of Yellow Mama is this month’s guest! She reveals the true colors–that is, what’s wanted on the pages of Yellow Mama in this beyond-the-guidelines interview. She was fun to work with! Happy Halloween to everyone and good luck submitting.

Here is the link to the Halloween Issue:


YM cover w banner

Joan:Please tell us a bit about the history of your magazine and about the magazine’s goals present day? Particularly, can you define how your magazine differs from other crime magazines out there?

Cindy: Back in late 2006 publisher Kenneth James Crist (also Grand Wazoo of our parent ‘zineBlack Petals) had a brainstorm about doing a different type of e-zine. BP publishes traditional horror/sci fi, but we wanted to focus on noir, crime fiction, bizarro. But not just those genres; we also hoped each issue might have something for everybody: mainstream, literary, horror, inspirational. Like, the same issue that featured a lesbian PI vigilante tale might have a story about a boy with psychic healing powers. Or a story featuring an anti-Christ figure would appear right after a dysfunctional coming-of-age piece. You’re never sure what each issue will contain. Our first issue came out in February 2007, and we’ve been going strong ever since. One thing that makes us stand out from other crime ‘zines is our awesome artwork, customized for individual stories. Some artists, like Sean O’Keefe, Mike Kerins, Kevin Duncan, LA Barlow, and Steve Cartwright, have been with us for many years. We also have fantastic, newer artists doing illos for us. Assistant Art Director Ann Marie Rhiel did our current August cover.

Joan:What are you seeking in general and what especially delights you in a manuscript submission?

Cindy: We really love getting down-and-dirty, pull-no-punches noir and crime stories, with realistic dialogue. Call it like you see it; don’t hold back. There’s no room in noir for the PC crap that’s been creeping into the market, these days. Sure, you have to draw the line somewhere. But a good writer will know when.

And yes, we’re open to other genres, but the majority will be noir/crime/psychological horror. We don’t like fantasy, romance, and especially not erotica. I hate erotica. Graphic sex is fine, as long as it’s part of the story. And hopefully, somebody gets killed.

At YM we publish stories up to 3500 words (sometimes longer, if you query, first), but I’m a Flash Fiction freak! Every issue of YM features at least 3 FF stories under 700 words.

Joan: What is an instant turn-off in a submission?

Cindy: There are two big YM no-no’s: animal abuse, and blasphemy/sacrilege. And some potential contributors send both. I’m a stickler for reading guidelines. But even after reading ours, writers will still send offensive stuff, saying, “I don’t think my story violates your guidelines, but . . .” Sometimes I’m reading a submission, and the minute the narrator’s dog barks, or cat jumps up on the counter, I know what’s coming. By the end of the story, that poor animal will be disemboweled, or beheaded. Don’t send stories like that!

What also turns me off are stories bogged down by too much narrative and self-indulgent imagery. Both stop the action and draw attention to how clever the writer feels he’s being. Don’t make the editor cringe. A clean, concise story with razor-sharp dialogue will impress me, not a whole slew of metaphors.

Joan: What are some of your favorite journals/magazines?

Cindy: My absolute favorite is Shotgun Honey. SH publishes the best crime fiction ever, and all stories are under 700 words! That’s the perfect length. I also love Megazine, a totally cool ‘zine based in Jersey City, NJ, and Gemini, which sponsors annual Short Story/Flash Fiction/Poetry Contests.

Joan: How can writers contact you with questions and find out about submission calls?

Cindy: Writers can email me at They can also contact me on Facebook under Yellow Mama Webzine. I’m always reading fiction/poetry submissions, and often post close-out dates for certain issues on our FB page. Most issues are generic, but our special-themed issues (Halloween, Christmas, and Valentine’s Day) are spectacular! Halloween is especially creepy; Christmas runs the gamut from inspirational to psycho Santas; Valentine’s Day showcases the thin line between love and hate (and how sometimes they’re the same!).

Joan: Is there anything else you would like to say to writers who are considering submitting to you?

Cindy:Read the guidelines! And edit your work. Don’t submit a story with typos in the very first paragraph.

Also, don’t forget your cover letter. A simple “Hi, I’m ____  ____, please consider my story/poem, see short bio below, etc.,” is cool. Don’t include a synopsis of the story in your email. And make sure your bio is short. Listing a zillion publications won’t sway me. Your work should speak for itself.


Thank you, Cindy!