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, www.OnThePremises.com.

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 saddlebagdispatches.com/dispatch/ 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: saddlebagdispatches.com/wanted/ 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 oghmacreative.com/.


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. (www.blood-and-bourbon.com). 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:  https://shortstops.info/literary-magazines-that-publish-short-stories/

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 http://www.smokelong.com/twelve-great-flash-fiction-novels-novellas/) 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 crosmus@hotmail.com. 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!



New Wave Crime: Submissions Open


new wave crime logo
This month I have the pleasure of presenting a new-ish opportunity—New Wave Crime. It’s not really a magazine, but an opportunity to place stories in anthologies. Interviewing the editor, Chantelle Aimée Osman, was a pleasure.  Here is what Chantelle has to say to further illuminate her publication’s guidelines. I, for one, am going to follow her advice to check out the anthology she edited to get a better idea of exactly what she likes in a submission


Joan: Please tell us a bit about the history of your publication and about its goals present day? Particularly, can you define how your publications differs from other short story opportunities out there?

Chantelle: New Wave Crime is an imprint launched in May from Down & Out Books, known for their award-winning anthologies and crime fiction. We’re looking for novels and novellas in crime fiction (mystery, thriller, suspense) featuring  new and unique voices particularly voices and themes representing all aspects and cultures of the modern world, women and diverse voices particularly welcome, and we’re open to submissions now (www.downandoutbooks.com/submissions).  Great voices are often overlooked because they don’t fit on every shelf, and marketing needs to be out of the box.

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

Chantelle: As an editor for over ten years, the one thing that I can’t fix is passion, and that’s the number one thing I look for in a manuscript. If you’re writing to a trend, or because you think you can do it better than someone else before you, I can spot it. I want the book that the author had to write, because usually that’s the one I can’t put down. 

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

 Chantelle: Not following the rules. And that’s being said by someone who believes rules are made to be broken. In this case, you don’t want to give anyone a reason to say ‘no’ before they’ve even read a page of your work. That means, follow their submission guidelines, address the editor by name, and a query letter that follows the standard format (1st paragraph: title, word count, genre, one-sentence hook, complete? series?; 2nd/3rd paragraphs: synopsis of plot; 3rd paragraph: relevant information about you and what makes you an expert in this subject, if anything) because this is all information I need to know before I take the time to read the work. Second only to that is sending me something that basically follows all the tropes and clichés, I want something new and different.

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

Chantelle: Mystery Tribune, Strand Magazine, Suspense Magazine, Scientific American. 

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

Chantelle: See the website above. newwavecrime@downandoutbooks.com

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

Chantelle: You can check out the latest anthology I edited, Mystery! (also at downandoutbooks.com), and my podcast, Crime Friction, which I co-host with fellow crime writer Jay Stringer. https://itunes.apple.com/us/podcast/crime-friction/id1325700566?mt=2

Thank you, Chantelle Aimée Osman!

new wave crime



Meet John Raab, Editor of Suspense Magazine

Suspense Magazine May June July 2018 Cover Online
When I do these interviews, I feel as though I am at a writer conference, sitting down with an editor over a cup of coffee, as they spill out their likes and dislikes–information beyond the printed submission guidelines to give you a bit of a heads up on submitting. Another great thing about this interview is that Suspense is also a book publisher and John Raab, gives us some insights into the process for both. Oh, and they also have a radio show! Good People to get to know! 
John says, “I typically say exactly what I feel and don’t pull punches. I tell the truth to a fault, but feel that is the best way an author will grow. So sometimes I’m a little brash, but it’s only because I really want every author to sell a million books.” 
Here is the interview:
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?
John: We started the magazine back in 2007. We saw a need for authors to be able to showcase their work, not just the big authors, but all authors. In the world of self-publishing many places don’t take these authors serious, however we take all authors serious in the genre. This is one of the ways we separate ourselves from other magazine. We also wanted to add an art aspect, which is why we don’t put authors faces on the front cover, we choose to incorporate what we deem suspenseful art, like a book cover. Most all magazines you see in the genre will have authors on the cover, and to us that’s pretty boring. We feel that we stand out. Goals are something that I don’t really think about. We just focus everyday on trying to make sure that every author has a voice and an opportunity to reach more fans.   
Joan: What are you seeking in general and what especially delights you in a manuscript submission?
John: With our book publishing arm, Suspense Publishing, we look for great writing. The one number problem that we see with manuscripts are they are not edited. I’m not sure that inspiring authors take editing serious. We see about half the query letters we get have some misspellings or grammar errors. This does not excite us about reading the manuscript and many times we stop at the query letter and say no thank you. Great writing leads to great character development and great plots. When an author focuses more on the story and not the writing, several mistakes are made. If the writing is top notch, the rest seems to follow. 
Joan: What is an instant turn-off in a submission?
JohnI sort of answered this question in number 2, but it’s worth repeating. EDITING! That’s the number one thing an author needs. When I say editing I don’t mean your mother, father or other family member. They can read your work, but an author probably won’t get the truth. It’s like I say all the time on our radio show, we are living in the American Idol generation, where the contestants say “My mom thinks I’m a great singer.” The truth? You aren’t and need to work on it. Find an editor that doesn’t care about your feelings and will give you the straight story with your manuscript, that is the only way you will ever become a great writer. Learn to be flexible and take criticism graciously. It’s like what Mark Cuban and Warren Buffet say, the best investment you can make is on yourself. By investing some money on a good editor, you will be rewarded ten times over when you sell your book. 
Joan: What are some of your favorite journals/magazines?
John:Good question. I’ll mention magazines that I like to read outside of the genre and have great writing. I like Forbes and Guitar Player magazine the best. They have some fantastic writers that give the reader some really great articles. I love music and read a lot of music websites. My favorite is Blabbermouth.com.  They cover the bands that I listen to and give me some great news relating to them.
Joan: How can writers contact you with questions and find out about submission calls?
John: Anybody can always email me anytime. I typically start my day around 7:00 am and stop checking my email around 10:00 pm. I will always write back to everyone that asks for help or just a simple question. I feel it’s important to answer everyone back, since they took the time to find our magazine and email us. I don’t care if it takes me 20 hours to answer every email, I personally answer every email sent to me. editor@suspensemagazine.com is my email address.  To contact someone on the radio show, you can email radio@suspensemagazine.com.  Because of the volume of books we get each, over 10,000 a year, we can’t review every book we get, but we try. I do however try to place every excerpt we get from authors in the magazine and I really try to schedule authors on the radio show so they can tell fans in their own words about their book.
Joan:  Is there anything else you would like to say to writers who are considering submitting to you? 
John: Keep the letter or email short. Just let me know what you wrote and when it comes out. Sometimes I don’t schedule an author interview because I don’t want to interview four authors that basically wrote the same book. We like to give variety, so we don’t have six authors in the magazine or on the radio show that only write military thrillers. I feel that is pretty boring. We love it when fans who normally read in one genre email us and say thanks for turning them on to another author outside of their comfort zone.
Joan: Thank you for sharing all of this with us!
John Raab
CEO / Publisher
Suspense Magazine
26500 Agoura Rd.
Calabasas, CA 91302
Check out Suspense Radio: www.blogtalkradio.com/suspensemagazine