Showing posts with label short stories. Show all posts
Showing posts with label short stories. Show all posts

Tuesday 23 April 2013

Hic Dragones presents... A Night of Strange and Dark Fictions

as part of Prestwich Book Festival

Monday 27th May, 7.30pm
Prestwich British Legion (near Heaton Park tram station)
225 Bury Old Road
Prestwich M25 1JE

Tickets £6 (+ booking fee) in advance from the festival’s Eventbrite shop

Come and listen to some of the finest and strangest authors writing in the UK today. What do they have in common? They’ve all been published – at one stage or another – by North Manchester’s strangest publishing house, Hic Dragones. And they’re together in Prestwich for one night only.

Rosie Garland:
Manchester-based Rosie Garland has published five solo collections of poetry and her award-winning short stories, poems and essays have been widely anthologized. She is an eclectic writer and performer, ranging from singing in Goth band The March Violets to her well-loved stage persona Rosie Lugosi the Vampire Queen. The Palace of Curiosities (HarperCollins) is her debut novel.

Toby Stone:
Toby Stone is a Whitefield-based novelist who also teaches in North Manchester. Toby went to the same school as Batman (Christian Bale) and Benny Hill. As an adult, Toby has been a toy-seller, an Avon lady, double-glazing Salesman of the Week, a mortgage broker, a suspicious barman, a school governor and a bingo caller. Aimee and the Bear (Hic Dragones) is his first novel.

Also featuring readings from Hic Dragones anthology writers:

Simon Bestwick: acclaimed author of ‘modern masterpiece of horror’ The Faceless (Solaris)
Richard Freeman: writer and cryptozoologist
Jeanette Greaves: contributor to Wolf-Girls and Impossible Spaces
Nancy Schumann: author of Take a Bite, a history of female vampires in folklore and literature
Beth Daley: graduate of the Creative Writing PhD programme at the University of Manchester
Daisy Black: writer, medievalist and heavy metal morris dancer

Your host for the evening will be Hannah Kate, ringmaster at the strange little circus that is Hic Dragones.

Plus… prizes to be won, a bookstall and a stall from Rock and Goth Plus


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Monday 22 April 2013

Call for Submissions: Hauntings: An Anthology

Short Story Submissions Wanted

A memory, a spectre, a feeling of regret, a sense of déjà vu, ghosts, machines, something you can’t quite put your finger on, a dark double, the long shadow of illness, your past, a nation’s past, your doppelgänger, a place, a song, a half-remembered rhyme, guilt, trauma, doubt, a shape at the corner of your eye, the future, the dead, the undead, the living, a grey cat, a black dog, a ticking clock, someone you used to know, someone you used to be.

We are all haunted.

Submissions wanted for a new anthology of short stories based around the theme of haunting.

What we want: Edgy, dark and weird fiction. Any interpretation of the theme is welcome – and we have no preconceptions about what ‘haunting’ might mean. Any genre considered: dark fantasy, urban fantasy, Gothic, horror, sci fi, steampunk, cyberpunk, biopunk, dystopian, slipstream. We’re looking for original and fresh voices that challenge and unsettle. (And, please remember, we do not publish misogyny, misandry, homophobia, transphobia or racism.)

Editor: Hannah Kate
Publisher: Hic Dragones

Word Count: 3000-7000
Submission Guidelines: Electronic submissions as .doc, .docx or .rtf attachments only. 12pt font, 1.5 or double spaced. Please ensure name, story title and email address are included on the attachment. Email submissions to Hic Dragones. Submissions are welcome from anywhere, but must be in English.

Submission Deadline: Thursday 31st October 2013

Payment: Contributor copy: 1 copy of paperback, eBook in ePub and/or mobi format; permanent 25% discount on paperback (resale permitted); 1 free eBook from our catalogue

For more information, see the publishers' website or email Hic Dragones

Important Information:
This is a non-paying market. Hic Dragones is currently a micro-press with plans to become a small press, and we acknowledge that this is not the market for everyone. We feel that what we offer – professional and thorough developmental editing and copy-editing, support and exposure (from IRL and virtual platforms) – will benefit emerging writers; however, we welcome submissions from more established writers (see previous anthologies). We value transparency and communication, so if you would like to know more about our business model, our background or our plans for the future, please email Hic Dragones or chat to us on Twitter or Facebook.

Wednesday 20 March 2013

GUEST POST: A Vampire's Guide to Dummies

A new short story by Toby Stone

Toby Stone is a novelist from Whitefield, near Manchester. His debut novel, Aimee and the Bear is out now from Hic Dragones. You can find Toby on Twitter (@tobystone1) or on his blog.

'A Vampire's Guide to Dummies' is an exclusive, unpublished short story.


A Vampire's Guide to Dummies

You may have already read A Zombie’s Guide to Attaining Zen and A Skeleton’s Guide to Overcoming Anorexia. A Vampire’s Guide to Dummies is the third in this series of aspirational texts for the dead. Yes, you too can be a better creature of the night. But A Vampire’s Guide to Dummies is as much help-yourself as self-help. It’s about our food, about where to eat and what to eat – by which of course I mean, who to eat.

I’d like to thank you for taking an interest in where your next meal comes from. There is a wide range of flavours available to vampires, but dummies are the most representative of mortal dishes. Like Big Macs for human children, we all know how a dummy tastes. That sweat of desperation, the slight lard of overeating ice-cream on the sofa, the rich lethargy of their blood. Personally, I prefer to snack on the thick. Intelligence has always made the human bitter. Look at Nietzsche.

Dummies are formed by stupid parents, an insipid childhood and, most often, reality TV. They think vampires foppish, refined, with cheek-bones as high as Robert Pattinson’s side-burns. As a newly turned vampire, you will still be stumbling against this cliché. Female teenagers won’t give you the time of day, let alone night. With regard to film stars, people tell me I most resemble Darth Vader, after he takes off the mask. Words don’t really fit me. The word ‘corpulent’ could have been coined for my gut, but doesn’t have enough syllables and wouldn’t encompass it. Very little does and I shop by catalogue.

The human form, though, is the focus of this guide, and I want to help you to be the most effective vampire you can be. We are, after all, the mortal’s foremost predator. And where better to hunt than in the city, on a summer’s evening, as dusk rots the sky? The girls in their slight dresses, passing like sirens freed from their calling. The jiggle of their hems, of their bosoms. The strong, young men, their nape and shoulder muscles unfurled like wings. The city, in the summer, makes a simile of everything, and the motion of human limbs in the dying light is as pleasant as poetry. Always eat the beautiful. And you can tell, just by looking and listening around, that the most beautiful are also the most stupid.

There are three ways of defining the dummy food-group.

1. What a Dummy is Not

New vampires are drawn to a certain type of food. You will want to eat the vibrant, the strong. To drink blood barely held in check by its veins. I like late night cafés with large windows, and my voyeur’s pleasure is the chav. They are the big cats of the human race – its big game.

The chav, though, is an occasional snack. While they represent good calorific value (their bloodstream contains four-fifths of the RDBI – Recommended Daily Blood Intake), they are exceptionally tenacious livestock. According to research, the calorie-cost of subduing a chav is often more than the benefit of supping on one.

Still, an americano warming your frigid palms, you will find yourself gazing at them, drinking them in as they pass in gangs, having discarded black Nike hoodies for shaven heads and chequered, short-sleeved shirts. You will rise, as I so often have, and follow one into an alley, as he looks to leave his last drink on the cobbles via his bladder.

When you do, there exists a combination of techniques (recommended by most vampire masters) used to prepare this plate. Any good Nocturnal Arts class can train you in these, until they become muscle memory. Practise the moves with a dummy (not a real one, of course). Diagrams can be found in the appendices.

● First, he will unzip. You will clutch at him, grasping his wide, pink, sun-spanked throat.

● Pull him close until you can feel the muscles of his back writhing against your gut.

● The chav will curse and butt back his head.

● You say: ‘Hold still, please.’ And: ‘Stop fighting it, sir.’

● You wrap your legs around his hips, topple him to the side, and roll on the ground, behind cardboard boxes, green skips and black bags.

● The chav will fight like he has always known how, since he was six. But he has always been beaten and, at the end, will go limp, apart from the motion of his tears.

● Then feed. As noted, a chav is not a dummy but a treat, and, though it is important to indulge oneself once in a while, be sure to pop a Rennie afterwards. Chavs give me indigestion. It’s not that I don’t like them, but that they don’t like me.

2. The Male Dummy
Interesting Facts
The top investment banks (of which number JP Morgan, Goldman Sachs, and Barclays Capital) take pride in firing 20% of their employees every year. The crème may become wildly rich, but the bottom is regularly tapped out and left to rot on the floor. Financiers are among the five professions rated most likely to commit suicide. Due to this, and to 90-hour working weeks, which mean personal relationships are few and distant, bankers are easy pickings. Like thread worms from the bottom of society, nobody misses their passing.
If chavs are rare steaks, the strip joint is the easiest place to pick up the more everyday meat. Near the centre of the city, lap-dancing clubs throb with flesh, with neon lights, and with lines of magnetism that draw the dummies in. This is the place to buffet.

I eat peanuts by the bar and try to ignore the women. From time to time, I may prospect one for a private dance, so as to blend in, but I tell them I’m an arse man. I recommend the bottom dance. It does the appetite no good when you are enveloped in the down of their breasts, in the scratch of their areola, in the probing of their nipples. All your skin will feel is the throb above each, the clanging of blood like church bells in her jugular.

If you can, take a friend. The choice of companion is important. If possible, sit with somebody you cannot stand and have little inclination to talk to. You do not want to be distracted from the hunt. If you have not already turned your spouse, may I suggest doing so now? If you are unmarried, as I was, take a parent. I sit with Frank, who sired me.

Frank was not how one would wish to be turned. A straight man’s bad dream: moustached, leather clad, he maintains a relationship with B.O. that has several unhealthy issues, many of which come from his crotch. I often eat roasted peanuts when he speaks, to disguise my wincing and his mouth odour. Ignoring him, I usually pretend to look at the dancers and all they have to offer.

In reality, I am looking at the door. I suggest living in financial centres: New York, London, Tokyo, Paris, Frankfurt, Shanghai. Keep up with the business sections of newspapers and note the trading times. When the markets close, your buffet will open for business, and a tide of drink will flood in. A Red Sea closing: of investment bankers, hedge funders, open armed investment managers, shorters, speculators, portfolio re-engineers. Dummies out on the city that suckles them.
A Helpful Table
Here’s a selection of which professions you should aim for. (More comprehensive tables to be found in Appendix C.)

Profession: Banker
Risk: Very low - as above.

Profession: Children in Care
Risk: Low. There is only one subset of society humans ignore more than children, and that is children in care.

Profession: Call Centre Operative
Risk: Average. Due to a lack of daylight, may well be as grey as your flesh but, when not plugged into a computer at the right times, they cause a series of statistics to flash red. Other humans may not miss them, but the machines and their maths will, and in today’s work-place they are all that really matter. On the other hand, these employees really don’t.

Profession: Prostitute
Risk: High. Very little makes the media foam more than the marriage of sex and violence, and the drained body of a hooker is enough to send newspapers into spittle-invected overdrive. The scantily dressed corpse makes the biggest splash, I can tell you. It’s something to do with skin on water. Can I recommend cellophane?

Profession: Soap Opera Character
Risk: Very high. It has long been noted that the human mind is capable of storing only a set number of faces (ranging from 150 to 450). If column inches measure the importance humanity ascribes to one of its own, these alone will be missed.
As you prowl the strip club, do not browse for the alpha males, the men slapping rump and pressing the queen’s crinkled face into places her majesty would rather not see. Instead, cast your greed to the group’s tattered hem. The newbies. The greens. Young men straight out of Oxbridge who have not yet fitted in. Awkward grins long and loose and rubbery, holding their drinks with two hands to stop the shaking. They drink quicker than the rest. Soon, they will be drunk, and not in the way they expected to be at the inception of the evening. Afterwards, you’ll feel elated and tipsy. That’s the advantage of dining on the inebriated; you get a free drink with every meal.

I recommend making your move in the toilet. Open a conversation with a comment on one of the dancers, a line that encompasses her curves.

Say:

● ‘That Ruby’s a bit of alright’;

● or: ‘I wouldn’t mind a bit of slap and tickle with that Sapphire’;

● or: ‘When Diamond bent over, I think my brain came into my nose’; etc.

A male in a toilet has to follow up on these amuse bouche or be thought homosexual, which is not the impression to give in the Gents. Even better, say it in a northern accent. From there, convince them that a dancer wants a private audience, because they are so young and pretty and different.

Say: ‘That Emerald, I caught her looking at you. I’m a bit of regular here. Reckon I could get you a private room.’ (Add ‘lad’ or ‘son’ if you think you can get away with it.)

A man falls for this, a highly educated human, before he realises that ‘special’ was a word concocted for children who don’t understand ‘retarded’. If he does fall, you will walk into the private booth you have booked and because you, like me, are as ugly as a vampire can be, his callow, whiskey soaked eyes will flinch across you. And if you are like me, which is to say obese, you will subdue him with a lap-dance more forceful and heftier, than he had been imagining. And the breasts in his face will be moobs, and unexpected, and it won’t be long before his Bambi body is broken, and your belly thickens.

3. The Female Dummy

Never, and can I make this clear, never attempt to eat a woman you do not know. They start at the presumption, no matter how ugly the lady, that all men are predators. This is not conducive to hunting.

For hunting ladies, I use Facebook.
Did you know?
97% of callers to the Rape Crisis Line report being assaulted by men they know or, I would suppose, thought they knew. Preying on the familiar is what humanity does best, and, if we are to blend in, it is thus the way to go.
Social media is a wonderful way to convince them that they do, in fact, know you.

I have several profiles: some male, some female, some heterosexual, some homosexual, some a little of all four. The pictures are cropped from Google Images. Once one is nestled in a friendship group, it’s amazing how everybody thinks you are someone else’s acquaintance. I spread myself around, using all the tricks they warn children (but not adults) about.

In the main, I turn the subject of threads to my love of the Twilight series.

‘I real respect Edward, he’s so cool, it must be real hard for him.’ I will post, having Wikipediaed the books. I was unable to read them.

‘Yeah, I no how u feel. Sometimes the hardest thing 2 do is the best thing. Sometimes, u cant have what u want, and it makes u thirstier for it, but somehow its better,’ she will reply.

‘I no right what you mean.’

‘You’re the only man I no who gets it.’

‘8-) I think we can actually learn something from vampires. No I sound crazy. But I do.’

‘Yeah, same here.’

After several months, I will arrange to meet my quarry. Yes, a long incubation period for the maggot to turn into a fly, but you have to imagine several of these ‘relationships’ gaining wings at the same time. Twilites, I call them. Light meals, not too stodgy, you can do things afterwards and enjoy the rest of your evening. Nothing worse than a full roast on a summer’s night.
A Case Study
As with humanity, the most powerful teaching tool for vampires is often the anecdote. This is not, though, a heart-warming parable of a frog tricking a scorpion, or of a bear that learns to talk about his feelings. But if you practise what this study preaches, it will at least warm your guts.

I met one particular ‘Twilite’ for the first time in Starbucks. (Please note: women find coffee less intimidating than alcohol on a first date.) I asked her to wear something red, around her throat, so that I would know her.

The meal-to-be tends to writhe on the hook of this meeting for at least an hour. I sat regarding this one for two hours , as she waited for somebody who looked entirely unlike my ugliness. She wept a little, and in public, and a group of young women pointed at her and whispered. One laughed, and my victim-to-be left in a tirade of clothing and a line of cravat. She looked like someone whose faith in humanity had been shattered. A bit quick to jump to conclusions, humans. She wasn’t paying attention as she reached her flat, and she didn’t lock the door.

It would be insensitive to describe what happened within.

I followed her down an unlit hall, past a white-framed, single paned window. I am light-footed, for an obese man, and can creep. (I am not weighted by a soul.) She slumped on a chair beside a small wooden table and fell forward into her own arms, crying. Her sobs were loud, and I feared the neighbours might be roused, before seeing the regular red gashes, like the marking of prison time, up her arms. I realised that this kitchen had heard it all before. The cupboards were worn, the shelves listless. Her arms, as I was watching them, continued around to clutch at her back, not so much hugging as trying to stab. I could hear tight cotton tearing.

‘You’re right,’ I said.

Her nails stopped, her hands became claws: furtive, stunned animals trapped by her own elbow joints.

‘You could learn from vampires.’

She attempted to turn, but I leant the weight of my chest upon her nape. She tried to scream but the weight, as I knew it would, crushed her lungs into withered leaves. I slammed her head, once, against the small, wooden table. A book toppled onto the floor, face up. New Moon, it said, and it looked eared and resigned, like an old dog. I could hear panting, but it was just her.

She was bleeding from her nose. This distressed me. Impatient, I bit and sucked, and she jolted in her Ikea chair, wetting the tea-stained white cushion and soiling her summer skirt. All I could smell was the red stuff. I could hear her squelching as she writhed, until she stopped.

You’re hungry now, aren’t you?

Before I left I walked through the lounge to the bathroom, picking my feet between discarded books. The lounge had the look of a struggle. Above the sink, the electric light came on but seemed reluctant. Since I’ve been gone, it’s been a relief not to stare at my face. In my day-life, I was an estate agent and the crap of it all had begun to rub off. I looked like shit alive. No doubt I look worse now, but not to me.

I smiled at my lack of reflection, curled back my lips, revealing the extent of my teeth, and reached inside the top-right pocket of my black jacket. From it, I removed a thin, white box, with a single canine drawn on it, in blue.
After every meal, I floss.

Some Pointers on Dining Decorum:

• Always carry floss. We may be descended from medieval Eastern European savages, but we are not barbarians. It is anti-social to spend the evening with larynx hanging from your teeth.

• Wear a dark suit and a shirt a shade lighter. Dark cloth is not an aesthetic choice, as you can imagine. First, it hides the sweat patches of a fight. Second, it hides stains. Blood can be absurdly difficult to remove.

• If you do dribble, I suggest lemon juice and cold water. Do not use hot water, do not. It sets the stain. Then, as Buffy herself might have said, hang the article on a line that will receive direct sunlight; it will finish the job for you.

• And, of course, don’t forget your Rennies.

• And don’t forget to look behind you. No, don’t look up, not yet. Keep reading, please do. Dummies read self-help guides, didn’t you know? Why do you think I wrote this? It’s not exactly life-enhancing. Did you know 94.5% of self-help readers are so gullible they’ll believe any old statistics?

I watch you dummies browsing in bookstores from my blacked-out 2CV, with your dirty little self-help purchases. Watch you pay, watch you leave. Follow you home. There’s no bigger dummy than someone who thinks they can change. What is it with humans and vampires? You want to be like us, do you? If there even was an Appendix C, you’d find Aspiring Vampires at the top of the Helpful Table. You keep odd hours. You’re avoided around the water cooler. If you don’t live alone, you’re heading that way. You’re bloody perfect.

Some Final Tips:

● Stay still. The skin of your throat is soft as I run my nails across it. The finest of hairs lift up onto my fingertips. Does that tickle? My nails are short. They don’t grow anymore.

● Try not to soil yourself. This will feel uncomfortable, like having a tooth removed through your throat. No need to add the smell of faeces to your discomfort. Can you smell my chest, instead, as it presses against your back? I’m wearing Old Spice. Nice.

● If you experience sexual excitement, even as you die, if you harden or quicken, do not go red. The body acts in unusual ways to unusual stimulus. You would not be the first to orgasm as you pass out. Go with the flow, it won’t be the only part of you that does.

As advertised in the title, this guide has led me to you. As with any good dummy, it’s time I popped you in my mouth, sucked, and shut up.




About Toby: Toby Stone went to the same school as Batman (Christian Bale) and Benny Hill. Though they were not all there at the same time. As an adult, Toby has been a toy-seller, an Avon Lady, Double-Glazing Salesman of the Week, a mortgage broker, a suspicious barman, a school governor and a bingo caller. Aimee and the Bear is his first published novel. Follow Toby on Twitter (@tobystone1) or on his own blog.



Aimee and the Bear is OUT NOW, published by Hic Dragones. When her mother’s cruelty is too much, Amy holds her teddy bear’s paw and travels to the Other Place—a world where teddies become real bears, where children attend the Night School to escape whatever it is they face at home, where Amy becomes Aimee, and there’s magic in the air. But the Other Place is in danger—the Witch has awoken, and Amy must find the courage to save her baby brother before it’s too late. A dazzling, heart-wrenching and brutal descent into the world of the imagination. This is not a children’s book. This is not a fairy tale. This is not your average heroine.

Watch the trailer:

Friday 2 November 2012

OUT NOW: Wolf-Girls Kindle Edition

At long last... the anthology of short stories about female werewolves that I edited is now available on Kindle.



lycogyny, n., the assumption by women of the form and nature of wolves

Wolf-Girls: Dark Tales of Teeth, Claws and Lycogyny
Edited by Hannah Kate


Feral, vicious, fierce and lost… the she-wolf is a strange creature of the night. Attractive to some; repulsive to others, she stalks the fringes of our world as though it were her prey. She is the baddest of girls, the fatalest of femmes – but she is also the excluded, the abject, the monster.

The Wolf-Girls within these pages are mad, bad and dangerous to know. But they are also rejected and tortured, loving and loyal, avenging and triumphant. Some of them are even human…

Seventeen new tales of dark, snarling lycogyny by Nu Yang, Mary Borsellino, Lyn Lockwood, Mihaela Nicolescu, L. Lark, Jeanette Greaves, Kim Bannerman, Lynsey May, Hannah Kate, J. K. Coi, Rosie Garland, R. A. Martens, Beth Daley, Marie Cruz, Helen Cross, Andrew Quinton and Sarah Peacock.

Available now from: Amazon UK and Amazon US.

For more information, visit the Hic Dragones website.

Thursday 30 August 2012

GUEST POST: J.K. Coi and Sarah Peacock on Wolf-Girls

Wolf-Girls: Dark Tales of Teeth, Claws and Lycogyny is a new collection of short stories about female werewolves. Edited by Hannah Kate and published by Hic Dragones, this collection features seventeen new stories about dark, dangerous and (above all) female lycanthropy.



As part of the Wolf-Girls Blog Tour, I'm happy to host a joint guest post from two of the writers, J.K. Coi and Sarah Peacock, who talk about their experiences of writing female werewolf fiction...

JK Coi is the author of 'Run Wolf' — part of Wolf Girls: Dark Tales of Teeth, Claws and Lycogyny, and the award-winning author of more than a dozen novels and short stories about dark, epically tortured characters. She also writes dark fantasy for young adults as Chloe Jacobs.

'Run Wolf' is a short story about a young female werewolf who’s been forced into the fight of her life. Kill or be killed, wolf. What’s it going to be? That’s the voice in her head, the one that won’t let up, won’t set her free, not until the sick humans’ game is over. Except that… the game is never going to be over.

I enjoyed writing this story so much, I still can’t get Gwen out of my head. Her strength and determination have inspired a greater storyline that I’m excited to start writing about soon.

But what is it that makes her such a compelling character? Why are werewolves so fascinating in fiction right now, and female werewolves in particular? Well, I think the great thing about seeing more books featuring female wolf protagonists is the fact that it’s fairly new and fresh. Sure, werewolves have been around about as long as vampires, but they’re usually male. Not all, but predominantly. And why is that? Because like vampires, werewolves are traditionally dark characters with lots of brooding badassery and baggage.

Personally, I would love to see more female werewolf characters. I think it’s about time that readers experienced strength and power from a female perspective! And you know what, I think the authors in Wolf Girls are the perfect ones to start writing those books!



Sarah Peacock's contribution to the collection is entitled 'Exiled'. Having a degree in Archaeology and Pre-history, Sarah now divides her time between writing and looking after her children. Fascinated by traditional tales of the supernatural, ‘Exiled’ was inspired by the mention of ‘cú glas’ (grey wolf) in the Ulster Cycle to describe a person wholly without ties, a foreigner, or someone who doesn’t belong.

In 'Exiled', Cassie isn't your normal everyday werewolf. But then again, I don't suppose any of the lycanthropes in 'Wolf Girls' are. For a start, they're all female. For me, the concept behind a woman transforming or becoming a werewolf is such a fascinating one to explore and one that I really enjoyed writing about.

The first time I came across a female werewolf was in the film 'Ginger Snaps' which portrays female lycanthropy as a metaphor for puberty and female sexuality. I love this film; it's one of only a few films that I can watch over and over again. The women as werewolves are strong but remain human in many ways - it says so much about being female.

In 'Exiled', Cassie's transformation is psychological. She becomes a werewolf as she discovers her own strength, finds her own voice in a culture that expects women to behave and look a certain way. As a result she becomes an outsider, she doesn't follow other's expectations and she becomes 'Cǔ Glas' – Grey Wolf. I first came across the idea of the grey wolf in an 11th Century Latin poem – I was researching a novel at the time and looking into Iron age customs and traditions. In the poem 'De Mirabulis Hiberniae' it talks about how those outlawed from the tribe would assume the form of a wolf. This is also mentioned in the stories of Cu Chulainn.

Cassie's story essentially developed from that idea. It was, at first, just a scribbled note in my journal.

The story takes the theme of not belonging and explores what happens when Cassie begins refuses to fit in with the small minded expectations that the people around her have. Her anger is unleashed and so she becomes an outsider. In our culture, Women aren't supposed to get angry and there is an extra special stigma reserved for women who are violent or kill. They are seen as the worst of the worst – a far cry from their idealised roles as care givers and nurturers.

One thing that springs to mind is that Cassie's transformation is not clear – does she change purely because she finds her voice or was the potential for turning there already? I quite like that ambiguity.

What is refreshing about the stories in Wolf Girls is that they explore these themes and more. Female lycanthropy has, at times, been taken and subverted into something to be exploited – a cartoon like portrayal of woman as wolf, but these stories veer sharply away from that and do something much more intelligent. In female lycanthropy, we as writers can explore some fascinating avenues; female sexuality, the body, violence, anger and psychology. Of course, never forgetting that a good story should always be the focus. But then again, all stories, including my own have within them, a subconscious undercurrent, something we might not be quite aware of as we write, only visible from the outside later, themes, ideas, pieces of our own psychology.

Wolf-Girls: Dark Tales of Teeth, Claws and Lycogyny is available now in paperback from the Hic Dragones website. An eBook edition is coming soon.

Monday 2 July 2012

OUT NOW: Wolf-Girls: Dark Tales of Teeth, Claws and Lycogyny

lycogyny, n., the assumption by women of the form and nature of wolves


New title from Hic Dragones, edited by Hannah Kate
Price: £8.99

Feral, vicious, fierce and lost… the she-wolf is a strange creature of the night. Attractive to some; repulsive to others, she stalks the fringes of our world as though it were her prey. She is the baddest of girls, the fatalest of femmes – but she is also the excluded, the abject, the monster.

The Wolf-Girls within these pages are mad, bad and dangerous to know. But they are also rejected and tortured, loving and loyal, avenging and triumphant. Some of them are even human…

Seventeen new tales of dark, snarling lycogyny by Nu Yang, Mary Borsellino, Lyn Lockwood, Mihaela Nicolescu, L. Lark, Jeanette Greaves, Kim Bannerman, Lynsey May, Hannah Kate, J. K. Coi, Rosie Garland, R. A. Martens, Beth Daley, Marie Cruz, Helen Cross, Andrew Quinton and Sarah Peacock.

To order, please go to the Hic Dragones website

For more information, please contact the publisher.

Wednesday 27 June 2012

Call for Submissions: Impossible Spaces...

and the things we find there.

Submissions wanted for a new anthology of short stories set in impossible spaces. From the conceptual impossibilities of China Mièville’s worlds, to the ludic illogicality of Lewis Carroll’s Wonderland, the retro-futurism of steampunk and the Kafka-esque repetitions and restrictions of dystopia – we love fiction set in places that could not (or should not) be. We’re looking for new and established writers to contribute dark and weird fiction for a new collection of stories set in places that bend the mind.

Editor: Hannah Kate
Publisher: Hic Dragones

What we want: Edgy, dark and weird fiction. While setting is very important, we’re also looking for compelling characters and original plots. Any interpretation of the theme is welcome – and we have no preconceptions about what ‘place’ and ‘space’ might mean. Any genre considered: dark fantasy, urban fantasy, horror, sci fi, steampunk, cyberpunk, biopunk, dystopian, slipstream. We’re looking for original and fresh voices, that challenge and unsettle. (And, please remember, we do not publish misogyny, misandry, homophobia, transphobia or racism.)

Word Count: 3000-7000

Submission Guidelines: Electronic submissions as .doc, .docx or .rtf attachments only. 12pt font, 1.5 or double spaced. Please ensure name, title and email address are included on the attachment. Email submissions to the editor. Submissions are welcome from anywhere, but must be in English.

Submission Deadline: Thursday 13th December 2012

Payment: 1 contributor copy (how we wish it could be more… and one day, perhaps, it will be!)

For more information, visit the Hic Dragones website or email the editor.

Friday 15 July 2011

Review: K.A. Laity, 'Vironsusi'

I'm suddenly aware that it's been a while since I recommended a good werewolf story. And given my interest in werewolves, that seems a little odd. So to put that right, today I recommend the short story 'Vironsusi' by K.A. Laity.



'Vironsusi' is found in Laity's 2009 collection, Unikirja: Dream Book (published by Aino Press). The stories in this collection draw on Finnish myth and legend, retelling old stories in a fresh and original way.

I won't go into too much detail about 'Vironsusi', as it is a short piece and to discuss the specifics would spoil it for first time readers. Rather, what I will say is that, as an English writer, researcher and reader of werewolves, it is all to easy to focus one's attention on the Western European (and North American) werewolf tradition. If you're not careful, it's easy to imagine the history of the werewolf as beginning in Latin literature, and moving steadily through medieval romance, early modern witchhunts and Victorian poetry, before arriving comfortably in Hollywood.

Amongst the many things that are lost, if one adheres to this neat little lycanthropic timeline, are the 'other' werewolf traditions - though perhaps 'werewolf' is not quite the right word here - the other rich traditions (from Scandinavia and the Baltic, for example) of human/wolf shapeshifters. And it is in some of these often over-looked legends that Laity's work is based.

'Vironsusi' is a charming example of the way in which Laity retells the old tales of Finland in Unikirja. It is, on the surface, a rather simple story of a... well, let's say 'werewolf' for the sake of brevity. Yet the story bubbles under the surface with unspoken desire, longing and sadness. There is something very sympathetic about the central character, though they are far removed from the 'sympathetic werewolf' of cinema and urban fantasy.

As I said, I'll not go into too many details and risk giving away too much. But I will say that I thoroughly enjoyed this story, and the particular take on shapeshifting it offered. It is a well-written and evocative story, based firmly in the fascinating folktales of Finland. I highly recommend 'Vironsusi' - and the other stories in the collection, of course!

Thursday 10 February 2011

Submissions Wanted: Cottonopolis: Steampunk Manchester

Please note: the deadline for Cottonopolis submissions has been extended until October 31st 2011.

Submissions wanted for a new anthology of steampunk fiction set it Manchester. In the Age of Steam, Manchester ruled – the world’s first industrialized city; the first passenger railway station for new steam-powered transport; multi-millionaires pouring their money into Gothic libraries and trying to ignore the sprawling slums.

One 19th-century commentator wrote of Manchester: “A thick black smoke covers the city. The sun appears like a disc without any rays. In this semi-daylight 300,000 people work ceaselessly. A thousand noises rise amidst this unending damp and dark labyrinth ...the footsteps of a busy crowd, the crunching wheels of machines, the shriek of steam from the boilers, the regular beat of looms, the heavy rumble of carts, these are the only noises from which you can never escape in these dark half-lit streets”

What if these days had not come to an end? What if Cottonpolis, the Warehouse City, had gone from strength to steam-powered strength? We’re looking for new and established writers to contribute dark fiction tales for a new collection of stories that imagines that this ‘damp and dark labyrinth’ really was ‘unending’.

Editor: Hannah Kate
Publisher: Hic Dragones

What we want: Edgy dark steampunk fiction set in a fictionalized future Manchester. Some familiarity with the city and its history is advisable. Any interpretation within these bounds is welcome. Queer, trans, cis, straight are all welcome. Pure Victoriana is discouraged, as we are looking for stories set in an imagined future. (And, I should warn you, we are unlikely to be publishing any celebrations of imperialism!)

Word Count: 3000-5000

Submission Guidelines: Electronic submissions as .doc, .docx, .rtf attachments only. 12pt font, 1.5 or double spaced. Please ensure name, title and email address are included on attachment. Email to this address. Submissions are welcome from anywhere, but must be in English.

Submission Deadline: Monday 6th June 2011
Payment: 1 contributor copy (how we wish it could be more!)

For more information, visit the website or email us.

Friday 5 November 2010

Review: Hassan Blasim, 'The Truck to Berlin' (Comma Press, 2009)


In 2009, Comma Press published a collection of short stories by Hassan Blasim, translated by Jonathan Wright. The collection, entitled The Madman of Freedom Square, features a series of surreal and hyperreal stories inspired by the Iraq war, and by the West's troubled relationship with Iraq. The stories span over two decades and explore paranoia, exile, human trafficking, the refugee experience, as well as many other issues. The collection is uncomprising, sometimes shocking, unnerving and challenging.

As a Mancunian writer, I am (naturally) a big fan of Comma Press. For those of us who live in Manchester, Comma represents a real home-grown success story. For those that don't, Comma is a champion of the short story form - unusual in today's publishing world. Until earlier this year, I was more familiar with Comma's anthologies, particularly their excellent horror output (The New Uncanny and Phobic). In the course of organizing the She-Wolf conference, Comma editor Ra Page recommended that I take a look at The Madman of Freedom Square, and especially the story entitled 'The Truck to Berlin'. This was my first real experience of Comma's works in translation, and I was very impressed.

'The Truck to Berlin' is a story of people smuggling. Specifically, it relates a tale of young men being transported from 35 Iraqi men who pay to be transported from Istanbul to Berlin. The men each pay $4000 for a journey in a closed truck by the pious smuggler Haj Ibrahim ("the best and most honest smuggler in all Turkey"). It is, above all else, a story of desperation. The Berlin story is framed by a narrator's own attempts to save enough money to pay "those who smuggle the human cattle of the East to the farms of the West"; before beginning the story of the ill-fated truck, he relates a previous incident in which a group of Afghan men were deceived into parting with money only to be loaded onto a truck, driven around the city in darkness, and left in a public garden in Istanbul to be arrested.

That the truck will not reach Berlin is made abundantly clear in the opening sentence: "... if I were destined to write it again, I would record only the cries of terror which rang out at the time and the other mysterious noises that accompanied the massacre." I won't go in to too much detail about the circumstances of this "massacre", although it will most likely to be clear given the usual content of this blog. However, this story does not hinge on a shock reveal or a supernatural terror. It is a carefully crafted piece of uncertainty, paranoia and dread. Blasim's writing (translated from the Arabic by Wright) is a perfectly-pitched blend of real and fantastic horrors. In fact, distinguishing the 'real' from the 'fantastic' is not even possible. For example, in describing his own exile, the narrator states: "... I was on the run from the hell of the years of economic sanctions, not out of fear of hunger or of Saddam Hussein. In fact I was on the run from myself and from other monsters."

So, what is responsible for the "massacre" on the truck to Berlin? Though it may seem obvious, given the usual subject matter of this blog, the story gives no concrete answer. The whole story is presented thirdhand. The Serbian police officer who finds the truck is not listened to; the story comes into the hands of "Ali the Afghan" who is "a treasure trove of smuggling stories", and relates it to our narrator; we are told the story dispassionately, but by one who appears to believe.

Are we expected to believe the implied explanation of what occured on the truck? Perhaps the more important question is can we believe it? Given the context of the story, I would argue that we can. The Madman of Freedom Square introduces us to a sometimes hallucinatory, sometimes nightmarish, world where extremes of violence and terror are all too real. At the beginning of 'The Truck to Berlin', the narrator outlines this hyperreality: "... in my view the world is very fragile, frightening and inhumane. All it needs is a little shake for its hideous nature and its primeval fangs to emerge."

As many critics have noted (including Fred Botting, whose Limits of Horror was the last book reviewed on this blog), today's fiction often presents us with sympathetic monsters: werewolves and vampires have become the 'norm', rather than the aberration. Horror and fantasy have long been mediums through which we explore our humanity and its limits. 'The Truck to Berlin' is a different type of horror. Here the reader is challenged to confront the limits of our inhumanity. In Blasim's work, those "primeval fangs" that are so often part of something recognizable, comforting, attractive even, are detached from romance and Gothic sensibilities and resituated in a "frightening and inhumane" world that is, nevertheless, all too real.

For more information about The Madman of Freedom Square, please visit the Comma Press website.

Sunday 31 October 2010

Jura Challenges Writers to Compose Short Story in 1984 Minutes

Like writing? Like whisky? Then you might be interested in this...

Jura malt whisky is reviving the Jura Lodge as a writer's retreat for one weekend only with a riveting offer for the UK's creative writing community.

Jura is offering one budding author the chance to stay at the island's exclusive Jura Lodge and compose a short story based on the island. There is one catch! Writers will only have 1984 minutes to compose their story, in keeping with the name of the George Orwell masterpiece which was penned on the island more than 60 years ago.

To win the competition, writers are being asked to submit the first 300 words of their proposed short story. There are only two criteria. First, the narrative of the short story must take place on the island itself. Second, the story should have a link to one of the many myths and legends about Jura.

For thousands of years, good fortune and mystery has enriched this tiny island, from the creation of its dominating scenery to the rumours of witches, prophecies and the graves of the Knights Templar. The rich bank of stories can be found here.

One lucky winner will have a chance to soak up the sounds, sights and flavour of Jura before setting to work in the Jura Lodge. The winner will then have 1984 minutes in which to complete a short story. The finished product will be published on Jura's website as part of a compendium of short stories, essays and poetry as a follow-up to the Spirit of Jura.

Jura distillery manager Willie Cochrane said:

"Jura has a long established literary tradition, so we thought it was about time to revive that tradition. This competition will offer one amateur author the chance to soak up the atmosphere of this great island before applying their inspiration to a short story. There's no shortage of material for our lucky winner on an island which is rich with myths and legends steeped in history."

The short story competition follows in the footsteps of the Jura distillery's partnership with the Scottish Book Trust. In 2006, the two partners established the Jura Malt Whisky Writers' Retreat programme, offering writers space, peace and time in a truly inspirational setting, amid the luxury of the Distillery Lodge. Several leading authors, essayists and poets participated in the programme, including Will Self, Liz Lochhead, Kathleen Jamie, Romesh Gunesekara, John Burnside, Philip Gourevitch and Swetha Prakash. The resulting works were published in a book, the Spirit of Jura, which went on sale last year.

Entry Details

Budding authors should send their entries to Isle of Jura by Friday 31st December 2010. Entrants must register as a Diurach on the Isle of Jura website to enter the competition and submit their Diurach number along with their entry for the purposes of verification.