Stories, Writers Co-op Anthology

Rabbit Hole 0 pre-order

The Rabbit Hole Vol 0_2-web

It’s here, folks! Well, not fully until the official launch date on July 17th, but you can pre-order now at the special launch discount price of $0.99. That’s for the ebook – there’s no pre-order for the paperback.

Some people say that doing pre-orders on Amazon isn’t a good idea because unlike the other online retailers, Amazon doesn’t wait till the launch date but calculate the sales rank using pre-order figures. This means that on the launch date itself, you’re less likely to hit a top spot in the sales rank because the pre-orders have already been counted. But nice as it would be to be up with the bestsellers, I’m not that concerned about our sales rank spike on launch date. I’d rather see a steady number of sales spread over a longer period.

So go for it! A bunch of great stories for $0.99 – what’s not to like?

Amazon            Apple              Barnes & Noble              Kobo

Later in the year, Rabbit Hole 3 will come out. At that point we’ll organise a Facebook event – games, quizzes, and a bundle of stuff to win. Stay tuned for more Rabbit Hole news!

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book reviews, Stories, Writers Co-op, Writers Co-op Anthology

The Rabbit Hole Volume Zero

The Rabbit Hole Vol 0_2-web

The world is weird. If any proof was needed, the first few months of 2020 provided it. But did we need proof? Didn’t we already know that you only have to scratch the surface to see the weirdness beneath? Sometimes it oozes out, suppurates, infects; sometimes it leaps out, takes root and blossoms.

We get used to it, carry on as if it wasn’t there. But we have it inside us – we are weird. What you see as normal is just the sum of abnormalities that you experienced last week, yesterday, this morning – so of course you’ll experience it tomorrow. Or will you?

Zero. Now, that’s a strange number. Its first recorded use was in ancient Babylon, but it didn’t reach Europe till the 12th Century. A round hole of nothing, containing everything. Black hole, wormhole, sinkhole, loophole… is it the beginning or the end? Welcome to the Rabbit Hole. Weird.

Volume Zero of The Rabbit Hole is a collection of texts from 12 invited authors who have also participated, with different texts, in the other volumes. Though published chronologically between volumes 2 and 3, it can be seen as an introduction, offering a good entry point to the series as a whole.

It’s due for release on 17th July, but if you want to read it straightaway, no problem – fill in this brief form and I’ll send you an Advance Review Copy so that you can post an honest review on Amazon when it is launched. Naturally we’re looking for as many reviews as possible, but please note that reviews from friends and family of contributing authors are not accepted.

The volume contains 3 poems and 10 stories ranging from 650 to 18000 words,  170 pages in all. Contributing authors are Art Lasky, Paul Stansbury, CB Droege, Tom Bont, David Rogers, Barry Rosen, a stump, S.T. Ranscht, Marc Sorondo, Mitchell Grabois, Curtis Bausse and Boris Glikman.

 

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publishing, Stories

Would you like to be a literary judge?

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Before we started The Rabbit Hole here at the Writers’ Co-op, I edited three anthologies called the Book a Break. They contained stories selected from submissions to a literary competition I ran, which attracted a fair bit of attention. I’ve now compiled all the stories into a bumper edition called 83 because, well, there are 83 stories in it. The aim now is to produce a Best of the Book a Break compilation. For that, the 83 stories will be whittled down to 40 or so, comprising those already commended plus 20 to 25 others, selected from the 58 other stories.

I could of course decide myself which stories to include. But as these things are subjective, I’d feel more serene if I had a few other opinions. So here’s your chance to be a literary judge. It’s very simple – all you need do is give a mark out of 5 to each of the 58 stories.

What do the judges get? A list of simple criteria to help them decide (see below), a free copy of the 83 stories, plenty of time to read them (the stories have a 2000 word limit, and the deadline is 31st April) and their name credited in the Best of the Book a Break compilation. The proceeds go to the Against Malaria Foundation.

Interested? Drop me a line via the contact page on this site.

 

Guidelines:
5: Yes! Took me straight into its world and left me thinking about it afterwards.
4: Great story – characters, dialogue and narrative all very well done. Comic, dramatic or disturbing, it hit the mark.
3: Good story, nicely told, but lacking that extra bit that would make it sparkle.
2: A bit hit and miss but enjoyable all the same.
1: Mildly interesting, but didn’t really work for me.
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Writers Co-op, Writers Co-op Anthology

Rabbit Hole 3: Call for Submissions

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The Writers’ Co-op invites submissions of short stories (and poems) for the third edition of our yearly anthology, The Rabbit Hole, scheduled for release in September 2020.

This year marks a new departure, in which we explore how ‘weird’ fits into a genre. And we’re kicking off with ‘romance’. Do your aliens fall in love? Is your young hero consumed, swallowed and digested by desire? Does your ageing husband bring his passion back to life only to find it’s not what he thought it would be? The possibilities are endless.

Perhaps you never read romance. Perhaps you’ve never written it. So much the better! Who knows what lies outside the box? Couples who’ve escaped from it, couples desperate to get in. Couples who may not be couples at all, or if they are, they’re certainly very weird: Narcissus and his reflection, God and the Virgin Mary, Eija-Riitter Berliner-Mauer (who fell in love with the Berlin Wall, but when it got torn down started dating a garden fence)…  Or male and female in one – what could be weirder than that? Do you know the Potter Angelfish? It starts life as a female, then switches over to male – a handy technique used by Virginia Woolf’s Orlando, though in the opposite direction.

I’ll stop there. You’ve got the idea. In fact I’m sure you’ve got plenty, and you don’t need me to give you more. Simply bear in mind that ‘weird’ doesn’t always mean outlandish – it can be subtle, discreet, even furtive. Witty too, or burlesque – we’re always open to humour. Or even, at a stretch, humor. We look forward to discovering whatever means you choose to warp, subvert, disfigure, disguise or otherwise befuddle the concept of romance.

There is a maximum word count of 5000. This is more a guideline than a strict limit – quality is the main criterion, not length. So a great story will be accepted, whether it’s 6000 words or 200 (flash fiction is welcome). But we’re looking for short stories, not novellas or extracts from novels – the story should be complete in itself. Though the anthology will be comprised mostly of stories, there will also be room for some poems or pieces of an experimental nature.

The deadline is 31st March 2020. Submissions should be sent in an attached file to curtis.bausse(at)outlook.com with the subject ‘Co-op submission’. They may have been previously published on personal websites (or elsewhere) but authors must have full rights to them when submitting. Authors will retain said rights after the story or poem is published in the Writers’ Co-op anthology.

Writers whose stories are selected will have the choice between keeping their share of the royalties or donating them to the Against Malaria Foundation.

To get an idea of type of stories published so far, you can get The Rabbit Hole volume one and The Rabbit Hole Volume two at a special discount price of $1.99 (until 31st January).

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reading, Stories, Writers Co-op

The Rabbit Hole Volume 2

Rabbit Hole Vol Two cover

The second volume of The Rabbit Hole is every bit as flumbiferous as the first. Which is just as Alice likes, because weirdness abounds and the warren never ends. Are you out for revenge? You’ll need the right app. Or perhaps you’ve done something foolish? Never mind – it can be undone. Would you like to be in a video game? That too can be arranged – at a cost.

All this and more in 29 stories to leave you pondering realms beyond our perception. Unless, perhaps, they’ve been there all along but we just weren’t looking the right way.

29 writers, 29 ways into weird.

Available for pre-order at for just 99¢ at:

Amazon                    Other major retailers

Contributing authors: Edward Ahern, Marie Anderson, Édgar Avilés, Curtis Bausse, E.F.S. Byrne, Steph Bianchini, Jon Black, Glenn Bruce, GD Deckard, Rhonda Eikamp, Brad Fiore, J.G. Follansbee, Steven Gepp, Boris Glikman, Geoff Habiger, Jill Hand, T.A. Henry, Jessica Joy, Simone Martel, Dennis Myers, David Rae, Alistair Rey, David Rogers, Barry Rosen, Kim Ross, JJ Steinfeld, Mack Stone, Stanley Webb, Tom Wolosz

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book promotion, Stories

You are invited

party

Invited exactly to what, I’m not very sure. Well, yes, a Facebook event. But my understanding of Facebook is about on a par with my understanding of the indescribable mess that for some reason still calls itself the United Kingdom. I dare say if I took the time to figure it out, Facebook might appear a little less complicated than Brexit, but I’ve never been that motivated, you know?

OK, here’s the thing. A few months back, a story of mine appeared in an anthology, Utopia Pending, and one of the other authors asked us if we’d like to host a slot in a Facebook event. Ever eager to learn new tricks, I said yes, so now I’ve got till Wednesday to think of something to do for a whole hour. Quizzes, prizes, giveaways – that sort of thing. Fun stuff. But don’t worry – I’m just one of several hosts, and they’ve done this before, so while my own slot might be a fiasco, theirs will be slick and professional.

The event is actually for the launch of a mini-series, The Mutation Chronicles, and it runs from 4 pm to 1 am UTC, which is 12 noon to 9 pm in New York and 3 am to 12 noon in Srednekolymsk. Check out the link here.

And what makes a party a success? That’s right – the guests. Since my own Facebook reach extends about as far as the end of my nose, please don’t hesitate to pass the invitation along. As we all know, the more the merrier – I look forward to seeing you!

 

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Stories, Writers Co-op Anthology, writing technique

Anthology April

Curtis Bausse Book a Break Short Story Competition

A big thank you to all who submitted stories for the first Rabbit Hole anthology – 56 submissions in all, a very healthy number for our first outing. Now the hard part begins – the selection process. We aim to get this done over the next 2 to 3 weeks, and all authors will be notified one way or the other before the end of the month. After that, it’s editing, revision, proofreading, formatting… a process on which I’d rather not put a concluding date right now.

But it’s already begun, and for me not once but twice: for The Rabbit Hole and for The Second Taste. That’s the title of this year’s Book a Break anthology (which will also be its last year). The title comes from Anaïs Nin: We write to taste life twice: in the moment and in retrospection. And in the anthology, as befits the theme of nourishment, there will be many flavours. With more still to come – there’s room for another half dozen stories, so if you have anything you’d like to submit, send it along before the end of this month to curtis.bausse(at)outlook.com. Maximum length: (more or less) 2000 words.

So April for me will be anthology month. All this has got me thinking about what makes a good short story. It’s far easier to say what doesn’t work than what does, which I’m not even going to attempt here. Instead I’ll let Atthys Gage give an idea – this is from the announcement of the first Book a Break competition, which he judged:

Let’s admit one thing. You may need to ignore everyone’s favorite writing tip: “show, don’t tell”— or at least, take it with a grain of salt. Telling is okay, just tell it well. Sometimes it’s necessary. You need a quick set up to get the reader involved quickly, because in a very few pages, you’re going to pull a fast one, yank our expectations out from under our feet, drop us abruptly on our backsides. Consider The Open Window by Saki, or The Lottery by Shirley Jackson, or The Nine Billion Names of God by Arthur C. Clarke.

Or maybe your story doesn’t feature a last minute reversal. Maybe it’s all one slow-burn, building to a frantic boil. Think Young Goodman Brown by Hawthorne, or A Good Man is Hard to Find by Flannery O’Connor. These stories play with our expectations, but you can see the ending coming. By the time it comes, you know it was inevitable all along.

Then there’s this from Heidi Pitlor: A successful short story does not expose its mechanics. Hell, it most likely does not have mechanics, rather a set of characters, a voice, an arc, momentum and a raison d’être so indivisible that to examine one of these aspects might seem pointless without the context of the others.

There’s only one thing I can say for sure – a good short story makes you want to come back for a second taste.

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Call for Submissions

The Writers’ Co-op invites submissions of short stories (and poems) for an anthology to be released later this year. No theme is set, but stories should broadly fall into the category of ‘weird’ (see below).

There is a maximum word count of 5000. But this is more a guideline than a strict limit – quality is the main criterion, not length. So a great story will be accepted, whether it’s 6000 words or 200 (flash fiction is welcome). But we’re looking for short stories, not novellas or extracts from novels – the story should be complete in itself. Though the anthology will be comprised mostly of stories, there will also be room for some poems or pieces of an experimental nature.

The deadline is 31st March 2018. Submissions should be sent in an attached file to curtis.bausse(at)outlook.com with the subject ‘Co-op submission’. They may have been previously published on personal websites (or elsewhere) but authors must have full rights to them when submitting. Authors will retain said rights after the story or poem is published in the Writers’ Co-op anthology.

All proceeds will go to the Against Malaria Foundation. Why? Because the (hopefully not meagre but probably far from spectacular) royalties can make a big difference: $3 buys a long-lasting insecticide-treated mosquito net which protects two people for up to three years.

That’s for the practicalities (if you have further questions, don’t hesitate to get in touch via the contact page). But what is meant by ‘weird’?

The question is addressed in the previous post, but since I’m here I get the chance to add my two cents’ worth (or grain of salt as they say in French). Like many categories, it’s fuzzy, because it stands in distinction to ‘normal’, and there’s no common acceptance of what is normal. Not all writers will approach it the same way, and so much the better – we hope for plenty of variety. At the core of weirdness, though, is the upsetting of expectations: normality, in the sense of what we’re accustomed to, doesn’t follow the course that led to us form those expectations. Where it goes – somewhere disturbing or hilarious – is entirely the writer’s choice. Or why not hilariously disturbing? Indeed, one advantage of ‘weird’ is that it allows for humour as much as for horror, so go for it!

How weird does it have to be? Anything from full on, over-the-top freaky to subtly odd and unsettling. So no worries if weird isn’t your usual style – a few deft touches can suffice. Those little moments of strangeness that don’t fit into what we know of the world or the people around us, those hints of a deeper mystery that defies explanation. Give us writing that shifts our perceptions, leads us to experience, bubbling up through the regularity and routine, the fundamental weirdness of life. To quote the Count of Lautréamont, author of the Chant de Maldoror, if your piece is ‘beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella,’ there’s every chance that we’ll love it.

We look forward to reading you.

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Agnès Varda: La rencontre fortuite
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publishing, Stories, Writers Co-op

Anthology Q&A

The Writers’ Co-op has decided to put together an anthology of short stories. To start off, here’s a short list of practical aspects to consider. All comments and suggestions welcome.

How many submissions do we need?

It depends (a) if there’s a maximum word count and (b) how long the anthology itself should be. I’d suggest a maximum word count of 5000, with a small tolerance if it goes above. For a book of 60,000 words, that’s 12 stories. But the book could be longer and the stories shorter, so 12 is a minimum and it could stretch to around 30.

How do we find them?

Invite submissions. It’s not a competition, so won’t be listed on a competition page like the one on Almond Press, which attracts a lot of views. The Book a Break got 75 the first year, 123 the second. Slightly less than a third made it into the anthology. How many submissions will we get by publicising on social media? No idea, but it would be nice to get 40-50. We can also send direct invitations to writers we know and appreciate.

Is there a theme?

The question is still open but there appears to be a majority saying no. And a theme adds virtually nothing to the marketing possibilities. A genre, on the other hand, makes it easier – readers type it as a search word on Amazon. Carl has suggested ‘weird’, which I like. It’s broad enough to allow for a lot of variety, from humour to horror by way of talking cats. Could even be stylistic.

Who will take care of selecting submissions, editing and formatting?

I’m quite happy to do that as it’s what I’ve been doing for the Book a Break, but ideally with someone I can call on for help when needed. Any volunteers?

What’s the calendar?

The Book a Break anthology will be released in September or October. I’d rather it didn’t clash with that, so either before or after, June/July, say, or November/December. But for the moment I’d rather not commit – let’s post submission invitations wherever we can with a deadline, I suggest, of 31st March. Some people might already have pieces ready but for anyone starting from scratch, that seems reasonable. We’ll see what happens.

How do we market it?

We will be creative, tenacious and cooperative! A committee of three or four people would be useful to come up with and implement ideas.

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Uncategorized, writing technique

Raise Your Voice… uh, Voices!

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I am not a sarcastic person. Sarcasm strikes me as mean — snarky condemnations passive-aggressively issued by arrogant people desperate to feel superior to those they ridicule. Those who are not the target may think it’s witty, but maybe they’re just relieved and smugly enjoying the fact it wasn’t aimed at them. After all, does anyone really deserve such ridicule? I’m inclined to give all* people the benefit of the doubt, and accept their occasionally foolish, irritating, mind-raspingly stupid behavior as an entitlement every human may claim. Even I could claim it if I were ever foolish, irritating, or stupid. None of which, of course, I ever am.

That’s the reason Romero Russo was such a revelation. More than two years ago, Romero started writing a book called Sarcasm Font. My first public view of him was on Inkshares during a marketing contest. After completing the first five chapters of his ambiguously fictional story, he started blogging. People found his writing funny and thoughtful:

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Here’s the thing. I am him.

 

That’s right. Following an unexpected series of events leading to my brain slurring two words into a word you won’t find in the OED, a fit of whimsy took over. I began writing Sarcasm Font in a voice so unfamiliar to me that I couldn’t even claim author credit. Romero Russo was born. He had a life of his own. He didn’t speak to me; he spoke through me. No doubt other authors have had the same out-of-voice experience. I suspect they would agree: it’s freeing.

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The elusive Romero Russo (Photo credit: S.T. Ranscht)

 

Like many authors, I’ve written characters who say sarcastic things. Readers have commented that each of my characters has an individual, identifiable voice. But writing and living from inside a character whose voice differs drastically from your own is more like acting. If you allow that person to tell the whole story, the writing experience is more like watching the story than creating it.

When Romero went public on Inkshares, the circle who knew about the two of us was small: two of my sisters and my son. They were kind enough not to share Romero’s secret, but they weren’t shy about letting me know they thought it was kind of creepy that I talked about him as if he were real. He and I shared a Venn diagram overlap of followers, and we followed each other. Why wouldn’t we? We were marketing separate works by separate authors.

But when we started blogging, we were sharing our “selves” with strangers. That’s when it became a hoax. No one questioned it. Why would they? He said things I would never say. It was just so darn much fun to be Romero Russo.

After the 2016 A to Z Blogging Challenge, Romero went silent on WordPress. I was still working on Sarcasm Font, and planned to promote it under his name. I began to question the practicality of that when I wrote the short story behind one of his… um, life events, and entered it in a contest. Entry required a bio and a photo. I had those, no problem. But on the chance — however remote — that it won a cash prize, or was short-listed to be published in the anthology, wouldn’t I want the cash and/or credit to be mine? Yes. Yes I would. I submitted it under my name, and while it didn’t win any cash, it was published in the contest anthology. I got all the credit.

I also gave myself up. Someone — I leave the choice to acknowledge this to him — who follows both Romero and me procured a copy of the anthology and read my story, which I, appropriately though perhaps indiscreetly, called “Sarcasm Font”. He allowed that I might merely have appropriated Romero’s premise, but he also suspected that we might be one and the same, despite the difference in voices. When he asked me directly, I couldn’t bring myself to resort to “alternative facts”. I confessed.

My hope is that others may take some inspiration from this tale. If you haven’t yet written an out-of-voice story, I highly recommend it. It will open your mind to discover voices you didn’t know you had. Ideas that have never occurred to you before will flow. You might find your very own Romero Russo.

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*(Except for one person to whom I gave a chance, but whose consistently reprehensible behavior has depleted my ability to tolerate. I might need Romero to speak for me for the next four years.)

fullsizeoutput_174 S.T. Ranscht lives in San Diego, California. She and Robert P. Beus co-authored ENHANCED, the first book in the young adult Second Earth Trilogy. She is currently submitting their baby to literary agents, determined to find the one who is their perfect match. Her short story, “Cat Artist Catharsis”, earned Honorable Mention in Curtis Bausse’s 2016 Book a Break Short Story Contest, and is available in its anthology, Cat Tales. “Sarcasm Font” appears in the 2016 To Hull and Back Short Story Anthology. Find her online: on WordPress at Space, Time, and Raspberries, Facebook, Twitter @STRanscht and Instagram @stranscht. You can follow ENHANCED on Facebook, Twitter @EnhancedYASyFy, and Instagram @secondearthtrilogy.

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