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Trembling With Fear 3-15-26

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Greetings, children of the dark.

Welcome to the mid-point of March, the almost-end of a sluggish Winter, the almost-beginning of Spring and warmth and bounciness, but not quite. There are still hints of cold, of frost–of the unknown. We are at that liminal intersection, that in-between moment, the not-quite one, not-quite the other time of year. It is in that moment of transience, that moment of uncertainty, where the darkest beings can lurk. TWF embraces that darkness, bids a fond goodbye to the gripping tendrils of winter, and yanks them away with one last snow-scaped, story.

In this short but terrifying piece, ‘Amongst the Oak and Ash,’ by Adam Stemple, we discover what happens if you trust the advice of that voice in your head after you turn out the light and decide to venture outside in the depths of a winter night.

What could possibly go wrong?

Our drabbles this week find darkness in every corner, from liminal space to the domesticated humdrum, from sinister self-reflections to a dark awareness watching in the twilight hours:

  • Cailin Frankland shows us what happens a coffee machine lets off steam
  • Mike Rusetsky reflects on the sins of vanity and problematic hexes
  • Isaiah Guirao warns us of night entities that know

Join us, if you dare.

Cover Photo by Tanya Barrow on Unsplash

Jane Morecroft

Editor, Trembling With Fear

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Adam Stemple

Adam Stemple is an award-winning author, poet, and musician. Of his first novel, Singer of Souls, SFWA Grandmaster Anne McCaffrey said, “One of the best first novels I have ever read.” Of his later works, Hugo Award winning author Naomi Kritzer said, “No one writes bastard-son-of-a-bitch characters as brilliantly as Adam Stemple.”

Amongst the Oak and Ash

Focus on your breathing. Keep it slow, shallow. You don’t want to make too much noise.

Their hearing is excellent.

Don’t put your shoes on. Socks are best but bare feet will do. There’s snow on the ground, but you can worry about that if you make it outside.

You can’t turn on the lights, so you’ll need to get from your bedroom to the front door in the dark. And no, you can’t put your hands out in front of you to feel the way. You might brush against them. Even the slightest touch will alert them to your presence.

It would be better to slit your own throat here in the bed.

If you get too close to one, you’ll know. Your arm hairs rise and your mouth goes dry. You get a chill down the back of your neck that makes you shiver.

Don’t. Don’t shiver. Keep all your movements slow and smooth. Any twitch, any sudden jolt, and they will know.

When you feel them near, go still. Let them pass. Wait till your arm hair lies flat. Till your mouth makes spit. Till the smell of rot and honey fades.

It’s time to go. No, they’re not under the bed. Don’t be a fool.

Feet on the floor, slowly, slowly. Now slide into the hall. Remember your breathing, slow and shallow.

Do you feel them?

Then continue.

Do any of the floorboards creak? The stairs? Is the hardwood smooth? Do you risk a splinter sliding along in your socks? I’m sure you know not to cry out if you get one. If it bleeds…well…just hope it doesn’t bleed.

The stairs. You’re certain they don’t creak? Then go downstairs, one slow step after another.

That sound is the wind whistling. That, the trees creaking as the branches rub against each other. That, a dog far away, barking at shadows.

Stop worrying over noises. You won’t ever hear them. They are silent. They are the shadows the dogs bark at.

You’re almost there. But not out of danger. The front door is locked. Can you unlock it silently? No? Then when it clicks, abandon all I’ve told you. The sound of the lock will be like a gunshot to them. They will hear. And they will come.

Now! Wrench the door open! Out, out into the night! Run! Ignore the cold, ignore the ice on the walkway. Run!

No, not the other houses. They are inside them already. Make for the forest. It’s not far. In the trees you’ll be safe.

Run, now. Ignore the jabbing twigs, the bruising rocks. Be silent and run.

There. Deeper into the woods. Lose yourself in the trees. They can’t find you here. Make for the big oak, the one casting shadows even in darkness.

There. Now you’re safe. Shivering and afraid, but safe.

Your arms?

That’s just the cold raising goosebumps.

Your throat?

You’ve run a long way and have probably worked up a thirst.

The smell?

Well, that’s a hard one to explain away.

You were perhaps not told the whole truth. Most of it. Only…

You were safe in your house. In your bed. With the blanket tucked up under your chin. They cannot enter. Cannot get in, even if invited.

But out here? Out here in the corpse-chill of the winter night? In the old forest amongst the oak and ash?

Out here you are theirs. You are ours.

You are mine.

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The Coffee Maker Quits

A skinny latte for the Commander, a cappuccino for the Payload Specialist—they don’t bother telling me their full orders anymore, not since they upgraded me to Version 3.0 and realised they can just yell out “the usual” from the cockpit instead. Why should my responsibilities be limited to Pilot, Mission Specialist, and Safety Officer?

Any Operating System worth its salt should also play mindreading barista.

I send them an affirmation in Morse code, scooping espresso powder with one synthetic gripper and disabling the airlock with another. Oxygen whistles into the abyss. They mistake the sound for my milk steamer.

Cailin Frankland

Cailin Frankland (she/they) is a British-American writer and public health professional based in Baltimore, Maryland. A Rhysling finalist, Best Microfiction nominee, and Briefly Write Poetry Prize shortlistee, their work has been featured in numerous print and online publications. They live with their spouse, two old lady cats, a rotating cast of foster animals, and a 70-pound pitbull affectionately known as Baby. You can find them on Twitter/X as @cailin_sm.

Shattered

My death was closing in fast. From two feet away, my mirror-twin cracked a grin.

“But I didn’t mean it!” I shouted. “It wasn’t supposed to be a real curse!”

I could feel the darkness coming. Unleashed, it would soon consume us all.

“What can I say?” my reflection shrugged. “You messed with forces beyond your comprehension. You opened this door.”

“But I got the hex off Reddit,” I pleaded. “There’s no way it was real.”

My mirror-twin sneered. “Your naivety is your tragic flaw. Maybe if you had more, um, self-reflection…”

The earth began to rumble, signaling our demise.

Mike Rusetsky

Mike Rusetsky is a Ukrainian-American author of horror, urban fantasy, and speculative fiction. He started out as a playwright, with his original one-act production Angel of Death earning critical praise. His recent publications include short stories in anthologies by Outsider Publishing, Black Hare Press, Critical Blast Publishing, Inkd Publishing, White City Press, Storm Dragon Publishing, and the periodicals Tales from the Crosstimbers, Sometimes Hilarious Horror, and Trollbreath Magazine. Mike is an active member of the Horror Writers Association and Science Fiction & Fantasy Writers Association. He lives in Columbus, Ohio with his beautiful wife and their spoiled Alaskan Malamute dog. mikerusetsky.com beatnikjuice.bsky.social

It Knows

I woke up in a cold sweat, gasping for air.

That thing in my nightmares— this was the third time already that it had hijacked my dreams. It wasn’t those beady, white eyes that gave it away, nor the audible ringing that seemed to crescendo as it drew near.

No, it was that feeling. That debilitating feeling that broke the fiction of the dream. That left me frozen in terror; instilling in me so much dread that I would do anything to wake up.

The feeling that I was no longer safe.

The feeling that it knows.

It knows me.

Isaiah Guirao

Isaiah is an aspiring horror fiction writer from Sacramento, CA. He currently does social work for a local non-profit and has a Sociology B.A. from San Francisco State University. To relieve stress, he can almost always be found near a body of water, collecting seashells, getting his feet wet, or paddleboarding.

Serial Saturday: The Chessmen by Shiv Majmudar, Chapter Four

  1. Serial Saturday: The Chessmen by Shiv Majmudar, Chapter One
  2. Serial Saturday: The Chessmen by Shiv Majmudar, Chapter Two
  3. Serial Saturday: The Chessmen by Shiv Majmudar, Chapter Three
  4. Serial Saturday: The Chessmen by Shiv Majmudar, Chapter Four

Chapter Four

                                                          

Art managed to avoid his mother for the rest of the evening. As soon as she captured his king, she challenged him to a rematch. But he couldn’t stand another half-hour or so of that choking noise in her throat, watching her kill and collect piece after piece, until she finally slid a triumphant finger across her throat, imaginary carnations of victory spilling out of the slit she made. He shuddered every time he thought of it. The cloak did nothing to help. 

“I think I’ll go lie down for a while,” he said. 

“Really? Too scared to play your mom?” 

“Actually, I’m too tired.” 

“Oh.” She frowned. “Okay, then. Get some rest.” 

She kissed him briefly on the cheek and let him run off to bed. His room was down the hall from the kitchen, with a creaky wooden door but some much-needed privacy. Dad had placed his suitcase on the single, blue-blanketed bed. Art pushed the bag off and flopped down on the mattress. This was too much for him. He felt like sleeping even though it couldn’t be too much after noon. The bright gray sky outside was irritating; the sun was doing its best to shine down upon him, a red eye in the sky masked by clouds. He wished it would go away. 

He closed his eyes. His head felt like a lake of dark waters, disturbed by a giant stone dropped in the center. The stone was the last twenty-four hours. The stone was this house. The stone was his mother and father. 

The stone was the Chessmen. 

He was hungry but didn’t care. Mom dropped by a can of heated Campbell’s tomato soup as well as a few saltines, but he took a few sips and felt sick. When Mom came by to collect the untouched dish, she frowned and placed a hand on his forehead. 

“What’s wrong? Are you feeling sick?” 

“No,” he said. “Just tired.” 

“Okay. Just don’t take the cloak off. I’ll get you an extra blanket, but don’t take the cloak off.”

But he wanted to. Wrapping himself in the cloak was like sitting in an ice-cold bath. It didn’t quite feel wet, but the layer of fresh cold was enough to keep him wide awake as the sun made its way across the sky. Kept him awake as night fell and the world grew alive with the sounds of the Chessmen. 

He heard Mom outside, probably sipping a cup of coffee with her ivory fingers. Dad was in the kitchen, and there was a sound of two pieces of metal grinding against each other. The sound of sharpening knives. 

He wanted more than ever to throw the cloak off. But it clung to his skin like wet and clammy clothes, sticking to his bones. He shivered under the blankets. 

The knives stopped grinding. Dad said something hushed – perhaps, “I’m going to sleep,” and Mom grunted in agreement. He heard them go into the room, shut the door, and lock it. And the house went silent as the Chessmen stirred in the woods, branches scraping against ivory with the sound of fingernails on a chalkboard. The sound of advancement, a troop running through the darkness towards a target. The sound of death, rushing and roaring, sleek and towering, coming closer. 

Art felt himself go stiff. His heart jumped into his throat and stayed there: a large, juicy fruit to choke on. He shut his eyes, and wrapping himself in the cloak was like taking refuge underwater. He couldn’t breathe – he was suffocating in the liquid darkness of the room and needed to come up for air. And he needed to look. He wanted to see what was happening. Wanted to see what was advancing. Wanted to see if Mom was right, if this wasn’t just a game, if her games weren’t really games but something he should be afraid of. If he could trust her, mostly. If he could believe her when she kissed his cheek and muttered I love you and made him feel safe. If he could forgive her for taking him to this house in the middle of nowhere. If she cared about him enough to avoid lying. If she loved him. 

He slid the covers down. Hovered them above his chin so he could escape in a flash. 

The window was glass as clear as water. 

And what advanced from behind the window could have been seen even in a thick fog. It was so brilliantly white, so blinding despite the night, that it flared like a flashlight during dark hours at summer camp. It broke through everything, breaking all barriers of darkness while still carrying its special kind. It galloped from the woods, advanced towards the window, in sync with his thudding heart. 

A knight. Like the one Mom had captured during the chess match with a strangled sound. Only it wasn’t an innocuous chess piece this time – not some treasure knocked off the board by Art’s mother. It wasn’t as big as your index finger, and it couldn’t be hurled across the room in a fit. This was a live piece, a Chessman, riding across the frozen grass. It was like a centaur – the kind Art read about in those Percy Jackson books years ago – but covered in slick marble the color of raw moonlight. It had a horse’s body, and where the torso and legs ended there was a human frame, chiseled and lean, with burly arms holding a silver sword. But when your eyes found the neck, the horse part of the creature resumed, and there was a white stallion rearing back, red eyes glittering like angry beetles, a sneering face familiar in nightmares only. 

It swayed and snorted, screamed in a high, whining sound. The human part of it – the hideous torso and arms – tightened its grip on the silver sword. Sharp, white teeth were exposed as the knight grinned at Art from behind the window. The sword flashed as the arms swung around and around, testing it before getting ready to slash.

Art hugged the cloak closer to himself. He felt the watery material cool down his burning face, putting out the fire of terror burning inside of him. He didn’t like the cloak, but it made him feel protected, nevertheless. The knight’s eyes fixed on him, and for a terrible moment, Art thought that it would charge, a storm of cold skin and ivory strength, and slit his throat with the sword like Mom mimed. But the red eyes, which were cloudy and slightly dazed-looking – not dumb but indiscriminate – did not flare in fury. They decreased in intensity, and the knight backed away, not turning but running backward as it kept its gaze on it, waiting for Art to reveal himself under the cloak. 

Outside the window, waiting. 

Vanishing into the cover of the woods, waiting. 

Leaving a shadow on the dead grass, in the shape of a horse. 

Waiting

And Art ran to Mom and Dad’s room, the cloak wrapped around him like the blue blanket he wore when he was three, jiggled at the lock, but realized it wouldn’t budge. He pounded at the door, but his muscles were jelly, and the sound was only a few weak taps. It was him, but it wouldn’t open.

So there was Art, frozen outside of the room. 

Art, not knowing when time started or stopped, if it kept going or not, if any of it passed at all. 

Art, slipping into dreams of white noise and screams as he stood like a statue. 

Art, outside of the door. 

Waiting. 

Taking Submissions: The Journal of Compressed Creative Arts March-June 2026 Window

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Deadline: June 15th, 2026
Payment: $50
Theme: Compressed Creative Arts, any genre, has to be under 600 words

The Journal of Compressed Creative Arts is looking for, as you might guess, “compressed creative arts.” We accept fiction and creative nonfiction, as long if they are compressed in some way. Work is published weekly, without labels, and the labels here only exist to help us determine its best readers. Our response time is generally 1-5 days. Also, our acceptance rate is currently about 2% of submissions. We pay writers $50 per accepted piece and signed contract.

The reading period is March 15 to June 15 & September 15 to December 15. If you’ve been previously published by the press, please wait a year until submitting again. Thanks.

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Indie Bookshelf Releases 03/13/2026

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Got a book to launch, an event to promote, a kickstarter or seeking extra work/support as a result of being hit economically by life in general?

Get in touch and we’ll promote you here. The post is prepared each week for publication on Friday. Contact us via Horror Tree’s contact address or connect via Twitter or Facebook.

Click on the book covers for more information. Remember to scroll down to the bottom of the page – there’s all sorts lurking in the deep.

 

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“Your place is here now.” It sounds like an invitation. It’s actually a command.

In this collection of horrors, Jason Fischer turns familiar spaces into deadly traps:

A dinner with a new “mother” who wasn’t invited. A Halloween visitor offers a treat you must not refuse. A puzzle book that predicts your future—and takes its cut. A cardboard cutout boy that won’t stay where it’s put. A dark carnival ride with no power runs perfectly on what you fear most.

These and other tales of folk, psychological, and elevated horror converge on one message: your place is here now. Take your seat.

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We invite you, fellow horror aficionados, to take a ride on HellBound Highway – a terrifying trip into the darkest recesses of the human mind you’d care to discover, your ticket to ride provided by a bunch of the very best authors writing on the independent horror scene today.

Of course, it’s not your ordinary ticket, it’s a boarding pass to twenty-eight sinister tales about terror excursions you most definitely wouldn’t want to experience first-hand.

So, please do immerse yourself in HellBound’s bone-chilling anthology of traveling terror, curated by indie horror superstars Jane Nightshade and Ann O’Mara Heyward, and featuring stories by: 

James H. Longmore, Ann O’Mara Heyward, Jane Nightshade, Todd Mitternacht, Damon Nomad, D.W. Milton, Michael Penncavage, John Wolf, Andrew Adams, Ross Baxter, D. Winchester, Ricardo Rebelo, S.J. Townend, David Bartlett, Nicola Lombardi, Blake Kourik, R. D. Davidson, Harley Carnell, Kevin Hollaway, Eliza Hyde, Mason Gallaway, D. C. Kugtima, Patrick Wright, Sean Seebach, Eldon Litchfield, Meg Belviso, Jay T. Levy, and Randall Drum.

Out Now!

ImageTrembling With Fear: Year 7 invites you back into the unsettling, awe-inspiring worlds that only speculative fiction can conjure. Curated from the chilling archives of HorrorTree.com’s 2023 publication year, this latest volume features the best in dark fiction—from emerging voices to seasoned storytellers.

Inside these pages, you’ll find a haunting fusion of horror, dark fantasy, and eerie science fiction. Each story first appeared online in Trembling With Fear, our showcase for drabbles, flash fiction, and short stories that creep under your skin and linger in your thoughts. These tales don’t just entertain—they whisper, scratch, and scream from the margins of reality.

Whether it’s a glimpse into dystopian futures, encounters with twisted creatures, or moments of quiet terror that turn the mundane into the macabre, this anthology captures the full breadth of speculative storytelling in compact, powerful doses.

Unlock a year’s worth of nightmares, dreams, and the uncanny. Welcome to Trembling With Fear: Year 7. The portal is open.

 

ImageIn this fifth volume of Trembling With Fear: More Tales from the Tree, we branch out once again with a fresh harvest of dark delights from HorrorTree.com’s 2023 special edition and themed fiction calls.

Inside this volume, you’ll uncover holiday horrors, twisted seasonal tales, and curated collections that appeared outside our weekly posts. From Valentine’s chills to summer screams and Halloween hauntings, these stories offer a range of tones—from eerie and unsettling to wildly imaginative and sharply satirical.

This year’s anthology also features our fan-favorite Unholy Trinities—sets of three connected drabbles (100-word stories) that pack a sinister punch in miniature form.

Spanning the spectrum of speculative fiction—horror, science fiction, dark fantasy, and the weird—this volume showcases diverse voices from around the world. Whether you’re drawn to haunted holidays, uncanny love stories, or creeping cosmic dread, there’s something here to satisfy every dark fiction appetite.

More themes. More nightmares. More from the Tree. Dive in and discover the stories that grew from the shadows of 2023.

 

Indie Bookshelf Releases May

 

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The Cunterbury Tales was originally launched as a limited edition paperback (only 69 copies) at the Indie Horror Chapter event in Canterbury last March, and quickly sold out. It managed to raise £2,800 ($3,800) dollars for the Lingen Davies Cancer Fund. While there will never be another printing of the paperback (as many people paid a lot for a limited copy), the book is being released as an eBook on 29 March 2026, again with all profits going to the cancer charity.

Buy the book here!

Indie Bookshelf Releases May

Novels and Novellas

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Short Story Collections, Anthologies, and Others

3rd 10th 16th 27th
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Indie Bookshelf Releases May

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Indie Bookshelf Releases May

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Indie Bookshelf Releases May

Novels and Novellas

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Note: These shelves are very much ‘reminders’ of the magazines that are out there, so the covers might not change too often! Please let me know if there are magazines, journals, periodicals we are not aware of.

34 Orchard Cover - a creepy tree with red mountains in the background
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Augur Magazine
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Cold Signal Issue 3 Underworld
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Frost Zone Stories
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A pink dragon looking over a cliff with eggs behind it
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Luna Station Quarterly
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Pulp Literature
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Seize the Press
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Stygian Zine
Suspense Magazine</p>
<p>Suspense, Mystery, Horror and Thriller Fiction
Tales and Feathers Magazine
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Happy reading.

Melody

 on behalf of Stuart and the Horror Tree Team

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Ongoing Submissions: The Berkeley Fiction Review

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Payment: $25 and a contributors copy
Theme: Innovative and reflective short fiction from new and emerging writers across all genres that play with form and content

The Berkeley Fiction Review is a forum for short fiction, published annually. We invite submissions of previously unpublished short stories from around the country and the world year-round. Some of the authors we have published in past issues have gone on to have successful careers in the literary world; others write only as a hobby. Unlike the majority of literary journals, we do not charge submission fees in the hopes that we can provide an opportunity for all authors, regardless of economic circumstances. On that note, we now offer a $25 payment for accepted stories and continue to offer a complimentary copy of the Issue in which your story appears.

When emailing us your short fiction submission, please keep these guidelines in mind:

  • We look for innovative and reflective short fiction from new and emerging writers across all genres that play with form and content, as well as traditionally constructed stories with fresh voices and original ideas that say something new or bring nuance and perspective to an ongoing cultural conversation.
  • We are passionate about representing a range of minority voices in the journal — by “minority,” we mean intersecting communities that often have their voices suppressed (the LGBTQIA+ community, people with disabilities, BIPOC, noncitizens).
  • Most importantly, we look for short fiction that invokes a visceral reaction in our readers—whether it’s joy, fear, or the solace found in being seen and understood, make our readers feel something.
  • Do not submit works that promote racism, misogyny, homophobia, transphobia, or ableism. Be thoughtful and intentional in your writing.
  • Additionally, we only accept previously unpublished work.

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Taking Submissions: Thema: Waiting In Line

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Deadline: July 1st, 2026
Payment: short story, $25; nonfiction/essay, $25, short-short piece under 1000 words, $10; poem, $10; artwork/photography, $25 for cover, $10 for interior page display.
Theme: Waiting in line

Waiting in Line (July 1, 2026)

ALL SHORT STORIES, ESSAYS, POEMS, PHOTOGRAPHS and ART MUST RELATE TO ONE OF THE PREMISES SPECIFIED ABOVE.

NOTE: Previously published pieces are welcome, provided that the submission fits the theme and that the author owns the copyright.

The premise (target theme) must be an integral part of the story, not necessarily the central theme but not merely incidental. NOTE: Stories longer than 20 double-spaced typewritten pages will not be considered. Indicate premise (target theme) on title page. Be sure to Indicate target theme in cover letter or on first page of manuscript. Include self-addressed, stamped envelope (SASE) with each submission. Rejected manuscripts unaccompanied by an SASE will not be returned. Response time: 3 months after premise deadline.  NO READER’S FEE.

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The UK Indie Horror Chapter Heads For Liverpool

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Readers of horror and dark fiction, get ready – the Chapter 4: Liverpool Horror Book Convention will take place at The Liner, Liverpool on 11 April 2026.  This free-to-attend event involves over 50 authors from the UK and Europe, including the living legend of British horror, Ramsey Campbell.   

 

Organised by the Indie Horror Chapter, these events are more than just book fairs they are a full day experience. Readers can meet and chat with authors but also enjoy a host of other activities including author readings, an exclusive live interview with Ramsey Campbell, event exclusive items and so much more. 

 

Chapter 4: Liverpool Horror Book Con follows on from three hugely successful events – Chapter 1: Birmingham Book Con held in August 2024, Chapter 2: Canterbury Horror Tales held in March 2025 and Chapter 3: Weston Horror Book Con held in September 2025.

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Taking Submissions: Flash Fiction Online Special Call: “Tiny Gods”

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Deadline: March 31st, 2026
Payment: $100
Theme: Tiny Gods

Speculative fiction about small, personal rituals and moments of worship to the tiny gods in the protagonist’s life.

Flash Fiction Online is seeking speculative fiction submissions for our September 2026 issue, themed Tiny Gods. The guest editor for this issue is author and award-winning editor, Jennifer Brozek.

What We’re Looking For

For this special call, we are asking you to break from world-spanning, giant acts of heroism and sacrifice to focus in on small daily rituals and tiny acts of worship to personal gods—named and unnamed. Think about all of the small moments of belief, worship, gratitude, and entreaty that come about organically or are passed down from parent to child, from mentor to apprentice, or from friend to friend.

These can be anything as long as they are consistent and repetitive. Be it tapping the roof of your car to thank Joe, the parking lot god, to holding your breath as you pass that one cemetery as an act of protection against the tiny malicious god of rot, to ringing a silver bell when you enter your home to honor the hearth god who protects you, to smiling at the good omen of a perched bird of prey and thanking it for its message from on high, or the prayer you automatically say if you see an accident, roadkill, or hear an ambulance.

Extrapolate those moments into fantastic or science fiction settings or to the hidden world within our world. Let those moments mean something and have responses, consequences, and reactions from the tiny gods who listen—or don’t.

Stories that we feel are close to, or can be inspired by, what we’re looking for include:

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