Gabby and Morgan are part of the featured selections from the Community of Literary Magazines and Presses for Women’s History Month!
Check it out here:
And pick up a copy of these great books!
NO OCEAN SPIT ME OUT is a captivating debut collection of poetry by Gabby Gilliam that delves deep into the intricate tapestry of family dynamics and personal evolution. Within its 30 poems, the collection embarks on a profound journey through the stages of coming of age, navigating the complexities of familial bonds, grappling with organized religion, and ultimately, embracing the essence of self-acceptance.
Each poem in NO OCEAN SPIT ME OUT serves as a poignant reflection of the human experience, capturing moments of vulnerability, resilience, and growth with eloquence. Through lyrical prose and emotive imagery, Gilliam paints a vivid portrait of the joys and struggles inherent in the process of self-discovery.
Whether you’re seeking solace in the shared experiences of family relationships or searching for introspective insights into the nuances of identity and faith, Gilliam’s collection offers a profound and thought-provoking exploration of the human condition.
From the mighty pen of artist and author Morgan Golladay comes The Song of North Mountain, a transformative collection of poetry and art celebrating the famous and mystical North Mountain of Appalachia.
North Mountain, a wildland in the George Washington and Jefferson National Forests of western Virginia, has been recognized by the Wilderness Society as a special place worthy of protection from logging and road construction. The Wilderness Society has designated the area as a “Mountain Treasure.”
Morgan Golladay brings her readers to dwell in the reverence of this wonderful wilderness.
Golladay is an award-winning author who was raised on North Mountain and lives in coastal Delaware as part of a thriving artist and author community. All words and art in this book are by Golladay.
The Song of North Mountain is National Book Award nominee!
The ZipOde, aka Zip Ode, is a fun, five-line poetry form invented by the O,Miami Poetry Festival in collaboration with WLRN Public Radio and Television.
The ZipOde celebrates the local life, the daily struggle, the beauty and ugliness, the minor and major frustrations and joys of living in a specific place.
Here is how you can write an ode to your own zip code!
Write the numbers of your zip code on five separate lines.
Each number will determine how many words that line will have.
(Similar to haikus but substitute words for syllables.)
If you have a zero in your zip code, then you can either leave it blank, insert an emoji or image or consider it a wildcard line of 1-9 words!
WLRN celebrated the 10th anniversary of the invention of the ZipOde in 2025 and as it turns out, I was the very first person to submit a ZipOde in O, Miami’s first call for submissions back in 2015. Always on the lookout for inspiration in unexpected places, I liked the idea of writing a place-centered short poem that celebrated my neighborhood.
You can read some stories about the 10th anniversary celebration and read some ZipOdes here.
Although the ZipOde form originated in South Florida, it has been celebrated in several other cities; O, Miami and WLRN offer it as a resource to anyone who wants to try it, as long as they attribute its creation to the O, Miami Poetry Festival and WLRN.
Tips for writing a ZipOde:
Use impactful words
Work those contractions!
Limit your scope but remain expansive
Anchor it geographically
If you have a 1 in your Zip Code (as I do), use it to maximum effect by making it a memorable, impactful word. Don’t waste the limited real estate in a ZipOde by using it for a connecting word like “and,” not that there haven’t been some excellent ZipOdes that do just that!
When you’re dealing with a limited word count—make contractions your friend! Why say “we have” when “we’ve” will work?
My favorite ZipOdes by other writers are the funny, pithy ones, but for my own, my preference is to look around me and celebrate the beauty and mystery of the nature that surrounds us—the trees, the birds, the animals, the wide-open skies.
ZipOde Examples
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Panthers’ eyes gleam deep in the Everglades blinking under that kite of stars, the Pleiades. What they’ve seen, we’ve forgotten.
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Hidden between hurricanes, this city’s soul quivers like the flight of the Miami blue butterfly killed by the slightest frost
It’s best to focus on one image, given the brevity of the poem, but the form lends itself to much experimentation and infinite variety.
I like to try to add a word that anchors the ZipOde to a place, since that is the whole point of the form! Images work, but also consider evocative scents, tastes, colors.
If you read some examples online, you will see that other poets celebrate their families, homes, neighborhoods in every way possible. The unique qualities of South Florida life are highlighted in trenchant, wryly fond-toned odes.
ZipOdes as Memoir
You can have fun commemorating all the different places you have lived and worked by writing ZipOdes! My workplace has two 9s in its zip code—riches! But even if yours has 1s and 0s, consider it a challenge—similar to when composing a haiku—to express yourself so succinctly.
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Driving to campus, coffee in cupholder steaming, the morning sun Stonehenged between skyscrapers in the east– in my rearview mirror, a flock of ibises rises..
ZipOdes can be dedicated love notes to your birthplace (or your child’s) or your favorite vacation spot or the place you met your significant other. As a collection, they can tell the story of your life—in code!
To celebrate the upcoming Old Scratch Press poetry collection HOWLING INTO THE VOID by R. David Fulcher, readers are invited to take part in a cover reveal guessing contest.
Three cover designs are shown on the contest page. One of them has already been selected as the final, official cover. Your task is to review the designs and guess which one it is.
How to Enter
Visit the HOWLING INTO THE VOID CONTEST PAGE between now and February 8. Review the three cover designs and submit your guess using the form provided.
After the contest closes, we’ll reveal the official cover and randomly select a winner from among those who guessed correctly. The winner will receive a signed copy of the book once it becomes available.
Note: This contest is not a vote. The cover has already been chosen. It’s simply a way to build anticipation ahead of publication and share a small behind-the-scenes moment from the publishing process.
Did you know that many of our books are available on Apple Books? You an open them right on your phone! One new book to check out there is DREAMS OF THE RETURN.
See it on Apple Books today, or go to the DREAMS OF THE RETURN page for more places to see, buy, and hear the book!
This is a really luscious book. Perfect for anyone who loves poetry, Italy, Italian poetry, photography, or all of those things!
Every January, writers everywhere crack open a fresh notebook or a blank document filled with hope, ambition, and—if we’re honest—a little pressure. This will be the year you finally finish the novel, submit your work, or build a consistent writing habit. And yet, by February, many resolutions quietly fade away.
The problem isn’t that writers lack discipline or passion. It’s that traditional New Year’s resolutions often don’t work well for creative people. Writing is unpredictable, emotional, and deeply human. So instead of pipe dreams or unrealistic word counts, this year’s resolutions should support your creativity rather than fight it.
Here are some resolutions that focus on progress, not perfection.
1. Resolve to Write Consistently, Not Constantly
Instead of committing to “write every day for two hours,” try setting a goal you can realistically maintain. Consistency matters more than intensity.
That might look like:
Writing 300 words, three times a week
Sitting down for 20 minutes, no pressure to produce “good” work
Keeping a regular writing window, even if some days nothing flows
A sustainable habit builds confidence—and confidence builds momentum.
2. Separate Writing from Editing
One of the fastest ways to stall your progress is to edit while you write. This year, resolve to let your first drafts be messy.
Give yourself permission to:
Write clunky sentences
Leave gaps to fill in later
Finish drafts that aren’t “ready”
First drafts exist to be written, not judged. Editing is a separate skill—and it deserves its own time and attention.
3. Define Success on Your Own Terms
Publishing deals, social media metrics, and comparison culture can distort what “success” looks like. This year, decide what success means to you.
Maybe success is:
Finishing a personal essay you’ve been avoiding
Submitting your work for the first time
Rediscovering joy in writing again
When you define your own benchmarks, your goals become motivating instead of discouraging.
4. Make Reading Part of Your Writing Life
Good writers are attentive readers. Reading widely and intentionally feeds your craft in ways nothing else can.
Resolve to:
Read outside your usual genre
Revisit books you love as a writer, not just a reader
Pay attention to sentence structure, pacing, and voice
Reading isn’t procrastination—it’s professional development (so let that TBR pile grow!).
5. Embrace Small, Unfinished Wins
Writers often believe that only finished books or published pieces count. In reality, small steps add up to big breakthroughs.
Celebrate:
Outlining a chapter
Revising a paragraph or poem until it finally clicks
Showing up to write, even on hard days
Progress is cumulative, even when it feels invisible.
6. Build a Support System (Even a Small One)
Writing doesn’t have to be lonely. This year, resolve to connect—even modestly—with other writers.
That might mean:
Joining a writing group or online community
Sharing drafts with one trusted reader
Talking openly about writing struggles instead of hiding them
Creative work thrives in environments of encouragement and accountability.
7. Let Go of Guilt
Perhaps the most important resolution of all: release the guilt around how, when, or how much you write.
Life changes. Energy fluctuates. Some seasons are quieter than others—and that’s okay. Writing is not a moral obligation; it’s a practice you return to again and again.
Resolve to meet yourself where you are.
A Final Thought
The best writing resolutions aren’t about transformation overnight; they’re about creating conditions where your voice can show up more often.
So be gentle. Be realistic. And above all, keep writing.
Ready to kickstart your path to success? Here are some publishers who are currently accepting submissions:
January 5: Daikaijuzine is open to speculative content in fiction and poetry.
January 7: Only Poems is open to poems about about beginnings.
January 15: Georgia Review‘s Prose Prize accepts short stories and essays.
Opening soon: Months to Years will open on January 15 for previously unpublished nonfiction (including essay, memoir, and creative nonfiction) of up to 2,500 words that explore mortality, death, and dying-related topics.
Holidays can famously bring out the best and worst in human behavior, and that is exactly why they are a fertile time for writers.
We witness Aunt Marge refuse her annual holiday dinner invitation because of a disagreement she had with your mom in 1986. We watch as 40-year-old cousin Clayton once again retreats to the basement to play video games. We laugh more than we have the entire year at the family Christmas song karaoke contest. It’s all there.
For writer’s, this isn’t a problem. It’s material.
Every gathering becomes a small stage where coping mechanisms perform. Pay attention to who fills silence, who polices tradition, who disappears into dishes or drinks or distraction. These aren’t flaws—they’re strategies. And strategies are where character lives.
Notice the body before the story: clenched jaws, doorway hovering, over-loud laughter, tears. You don’t need to interpret, just collect details. Meaning comes later.
As the year turns, resist the urge to overanalyze what the holidays reveal. Instead, write from them.
A New Year Writing Invitation:
Choose one uncomfortable, or wildly sentimental, holiday moment. Describe it in plain language, then rewrite it from another point of view—or place it in another time.
May the new year bring closer observations by staying close to what’s real. That’s where the writing lives.
In moments of upheaval or change, poets often become the ones who name what others feel but are unable to articulate. Poetry has long been one of our most potent tools for reflection, resistance, and social awakening.
The following information comes from the blog posts of poet Trish Hopkinson:
It’s one of those catch phrases you hear in literary circles. I really like the voice in this piece. You write with a confident voice. This is written in a voice that reminds me of J. K. Rowling. So, what does it mean, really, to have a writer’s voice, and what if you don’t have one or you can’t find yours. Writing for as long as I have, what follows is my personal take on the complicated and mysterious concept of writer’s voice.
At first, you won’t know what your voice is, but you do have a voice. We all do. No one is like you. No one has lived your life experiences. No one aligns exactly with your values, world view, or beliefs. Every reader know what it feels like to read someone who is confident in their own writing. A writer who is genuinely themselves in every paragraph. This is voice. Think Rowling. Think Stephen King. Think Tracy Chevalier. We all begin as readers in life, but then most successful writers go further and begin taking classes and workshops where they study how others have done this thing called writing. At first, when we write, we may be copying what others have done already to some extent, but that is okay. It’s only how this process starts. We learn by those who have come before us, as they did when they started writing.
So how do you find and hone your own voice as a writer, once you have learned some practical elements and lessons about the craft of writing. First of all, this is a lifelong process. A writer’s voice changes some over the years as we age and life adds new experiences, but a writer’s basic voice never changes. The only way to find your voice is to write. To practice. Only by writing a lot can you learn who you are.
The critical part where you will begin to uncover your voice is during the first rough draft, because a writer’s voice is not created, it is unearthed. The trick with fresh writing is to let the voice take over. Don’t overthink while you write. Try not to look back or think ahead. Let each word come one at a time. Trust your gut and your heart, not your head. When it feels right, it is right. Don’t smother your own creativity by evaluating the flow of words during the first draft.
Another element of finding and flying with your own voice is what you choose to write about, and I see this as two separate issues. First, write what you know as a general rule. I don’t mean that you can’t invent things or make up characters or whole worlds, but in all great writing the writer still writes from what they know and understand about life and living. The second element is equally important. Write what you want to write about, even if it seems silly or too out there or too boring or too anything. Don’t ever write what you think you should write about or what you think will get published.
Early on in my writing career I attended a workshop where I submitted a story written in a child’s point of view. The instructor basically said that no one should ever write short stories in a child’s point of view, because no one will want to read them. I was devastated and confused. I liked the story. I believed in it. I kept that story and years later, when I had become more confident as a writer, I went back to it, fixed it up, send it out, and it was published in journal within a few months. While we should take advice and critique seriously, we shouldn’t take it if our heart and gut don’t agree. This sometimes takes courage, but if I can do it, you can too.
Another example of being yourself involves not chasing trends. Some years back it was popular to end short stories with everything up in the air. The idea was for the reader to figure out what they thought the ending was. That never set well with me, but I got caught up in the trend and wrote some stories that way. They didn’t succeed, because I wasn’t being true and honest with voice. I was shoving down my voice, my gut and heart, doing something because I thought I should. I learned my lesson.
When you start writing you should be patient with yourself and give yourself time to find your own unique voice as a writer. I promise it is inside of you waiting to be found. Once you are more confident about your voice it is important to take yourself out of your comfort zone from time to time. I did this by changing what I wrote. First, I settled into nonfiction. As I learned more about myself, I added poetry and then fiction. In recent years, I have expanded to some science fiction and short stories with fantasy elements. So, keep reading always and write and write and write and write and above all, at the end of the day, trust yourself first above all others when it comes to what your voice is as a writer. Happy writing!
Virginia Watts is the author of poetry and stories found in The MacGuffin, Epiphany,CRAFT, The Florida Review, Reed Magazine, Pithead Chapel, Eclectica Magazine among others. She has been nominated four times for a Pushcart Prize. Her debut short story collection Echoes from the Hocker House was short listed for 2024 Eric Hoffer Grand Prize, selected as one of the Best Indie Books of 2023 by Kirkus Book Reviews, and won third place in the 2024 Feathered Quill Book Awards. Please visit her.
Virginia’s new book is now available from Old Scratch Press:
By R. David Fulcher, Old Scratch Press Founding Member
I love all things pumpkin, including pumpkin spice. However, I understand even fans of this seasonal gourd have their limits on just how much pumpkin spice is too much pumpkin spice.
Readers are the same way.
Even fans of scary stories have their own personal limits in terms of exactly how scary, how gory, or how unsettling a story they can bear.
Therefore, I’ve taken three of my pumpkin-related stories and rated them in spiciness, from the most mild to the most extreme.
Mild Spice: “Pumpkin Night at the Pinkstons”
In “Pumpkin Night at the Pinkstons”, from my book The Movies that Make You Scream!, a teenager discovers the secret behind his homecoming date. Full of gooey teenage love, this is the mildest of my pumpkin-themed stories, something like one of the Goosebumps tales by R.L. Stine.
I’ll call this the Pumpkin Spice Latte Level of story.
Here is an excerpt from “Pumpkin Night at the Pinkstons”:
I don’t know exactly how much time passed before realizing that something was very, very wrong. The texture of her kisses changed, becoming clumsy and pulpy in taste. Her smooth gums became loose and stringy, and when I tried to pull away, I realized she was attached to me like a barnacle adhered to the side of a boat’s hull. Long, pointed fingers now clenched my nose shut and I began to get dizzy as that sickening, fruity-vegetable stench began to overwhelm me.
But more horrible were the physical changes taking place to the body I embraced, a grotesque squishyness of the torso and organs like the skin of a rotting tomato.
Medium Spice: “Pumpkin Seed Spit”
In “Pumpkin Seed Spit”, from the Devil’s Party Press anthology Halloween Party 2019, three friends go trick-or-treating and make a horrible deal with an ancient spirit to ensure their survival. Although the protagonists are also teenagers in this story, the stakes are higher, and the final implications for humanity much darker.
I’ll call this the Pumpkin Muffin Level of story.
Here is an excerpt from “Pumpkin Seed Spit”:
Upon reaching the first house near a dead end, they knocked and said in unison, “Trick-or-Treat!” As fifty-year-old Henry Armitage opened the front door, Brian unearthed his bag. The middle-aged man frowned at the kids before starting to mutter something about the lateness of the hour. Armitage gazed into Brian’s bag of seeds and was immediately mesmerized. An orange energy tendril spiraled upward, carrying a single seed into Armitage’s mouth.
Brian, Matt, and Ria wanted to scream, but found it impossible. While their souls were wrenched into knots by the horror they witnessed, outwardly they stood emotionless, even tranquil, as layers of skin and flesh melted away until all that remained of Henry Armitage was a living skeleton.
When the transformation was complete, they advanced to the next house. Ria shared the seeds, and Asenath Waite, a young mother of two, was hideously transformed into a witch with boils, green teeth, and a trail of lesions across her forehead.
Matt was next to present The Pumpkin Tree’s offering to the world. Three seeds were received by a couple and their young baby. Within moments they became a trio of giant pale, eyeless larvae that oozed and squiggled out of their clothes.
Extra Spicy: “The Pumpkin King”
In “The Pumpkin King”, from my book The Pumpkin King and Other Tales of Terror, a man ignores the rules of Halloween to his own detriment. The protagonist is an adult, and this tale has the most shock value of the three.
I’ll call this the Pumpkin Imperial Pale Ale Level of story
Here is an excerpt from “The Pumpkin King”:
I spun around and made for the door, half convinced I was hallucinating if not dreaming. I unlatched the deadbolt, but it clicked back into place as soon as I started to turn the latch. I turned back to the jack-o’-lantern.
“An easy trick, but effective,” the jack-o’-lantern said, its orange light flashing in time to the latch on the deadbolt as it clicked back and forth at will.
“What do you want?” I begged.
“I want you to think on this. There is but one expectation of you this time of year. One simple obligation: To carve pumpkins. To pay homage to the king.”
“What king?”
“Samhain, the King of the Dead.” Its demeanor began to change. Its voice deepened and the reddish-orange glow rose like an enraged fire.
“This is ridiculous!” Now I was beginning to lose my fear and was feeling pissed. This thing, whatever it was, was in my house. I turned to climb the stairs and grab a baseball bat so that I could smash the talkative piece of vegetation into a hundred juicy bits. I was an educated man, and I knew of the myth of Samhain, the Lord of the Dead who arrived every fall to put nature in balance with the deadly strokes of his sickle. I also knew it was pure bunk.
I had only reached the first step when I heard a sound far worse than the maddening click-clacking of the door latch: the metallic whisper of a kitchen knife being drawn from the butcher block.
I turned back to the pumpkin. “Okay. You’ve got my attention. What do you want?”
“I want to carve you,” it replied simply.
So whatever your personal threshold is for pumpkin spice, pay homage to the spirits of All Hallows Eve, and savor the spice before it’s gone!
Happy Writing!
R.David Fulcher, Founding Member of Old Scratch Press
OLD SCRATCH PRESS 