An Interview with Matt Youngmark

Cover for The "Wonderful" Wizard of Futhermucking OzMatt Youngmark recently agreed to sit down for a virtual interview with editor Dawn Vogel. Not only is he a friend of the MSJ editors, he’s also done a couple memorable covers for our quarterly magazine, and he’s also the guy who does the fancy layout for our anthologies. Recently, he published The “Wonderful” Wizard of Futhermucking Oz, which is a YA novel that retells the story of the Wizard of Oz with a modern-day protagonist. It’s hilarious and FULL of cursing. So read on to learn more about Matt and his book!

Dawn: Tell our readers a little bit more about yourself.

Matt: I guess I’m best known for the Chooseomatic Books series, which are novel-length, PG-13 choose your own adventure books—I’ve written three so far and will probably write more in the future, because they’re so much fun to do. I also did a daily webcomic called Conspiracy Friends (it’s not up any more, but it’s been collected into three paperback volumes, which are HILARIOUS, if you want to check them out).

DV: How did you come up with the idea to rewrite a beloved children’s classic as a young adult novel?

MY: I’ve always wanted to do something with a public domain work—they’re just sitting there, you know? And nobody owns the copyright any more. It’s like somebody left the top down on their sweet convertible with the keys in it—HOW CAN YOU EVEN RESIST?

Then I was reading some review of that Oz show on NBC that just got cancelled (I still haven’t seen it), and it got me pondering what I would do if I was going to take a swing at the Oz mythos. The idea of rewriting the original 1900 novel with a modern protagonist in a constant state of WTF made me laugh, and it felt like the kind of thing I could write pretty quickly, before the novelty wore off. And I did write it pretty quickly, and I’m delighted at how it came out, so here we are.

DV: What was the weirdest thing you learned about L. Frank Baum and/or The Wonderful Wizard of Oz while writing this book?

MY: Definitely the genocide. About ten years before the first Oz book came out, Baum wrote two newspaper editorials (and he was the editor, so it’s not like it was just some assignment) where he explicitly called for the complete extermination of Native Americans. It’s some fucked up shit. A lot of his fans speculate that he didn’t maintain these views later in life, based on the fact that he was progressive on women’s rights and hung around with people who weren’t horrible racists and whatever. But we don’t have anything on the record where he walks any of it back to judge him by. We just have those editorials.

I actually worried a bit that I would alienate Baum fans by touching on it. And then after the first reading at Norwescon, a guy came up to me and thanked me for mentioning it in the text because he’s part Native American and it meant a lot to him. I mean, I sincerely hope that Baum fans like the book too, but if I have to choose between readers, I guess I’d rather have that guy.

Dawn Vogel dressed as Arabella

Editor Dawn Vogel dressed up as Arabella (from the cover of the book) for Matt Youngmark’s reading at Norwescon.

DV: Is your portrayal of Arabella based on actual fifteen-year-old girls you’ve met, or just sort of a general “this is what the young folks are like these days”?

MY: For the most part, Arabella just reacts to situations the way I do when I’m in a bad mood. The main difference is that I’m pretty quick to hit that “edit” button in my head before I say something that might hurt someone’s feelings. Arabella is super fun to write because she doesn’t have that—she was done putting up with people’s bullshit by the time she was about 8, and no one’s paying her to massage your fragile ego, so if you don’t like it, you can step the fuck off.

See, just talking about her, I slip into her POV. She’s probably my favorite character to write, ever.

DV: What’s next for Arabella?

MY: I don’t want to give away too much, because the plot of book two is actually kind of a spoiler for the last page of book one. But it’s less “beloved children’s fairy tale,” like the Oz book, and more “men’s adventure story.” The plan is to keep robbing the corpses of long-dead authors and sending Arabella adventuring through various public domain classics. I have two more books planned, and after that, if people like them, who knows?

DV: What’s next for Matt Youngmark?

MY: Right now (like literally as soon as I finish typing this) I’m working on some writing for a new tarot-based storytelling game called Weave (http://www.weave.game/), which I’m really excited about. And then a couple more Arabella books—after that, I’m not sure. But I’m kind of in love with this whole writing a book in a couple of months instead of a couple of years thing. So, probably more books?


Interested? Click here to buy The “Wonderful” Wizard of Futhermucking Oz at Amazon!

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Announcing the Utter Fabrication Table of Contents!

We have all the contracts back from the authors, so we feel comfortable sharing this list of stories that will be in the anthology. We received 242 submissions., ore than double our previous record amount.

There were many good stories, more than we could possibly accept. The final selection process was agonizing. Of those 242 submissions, we have selected 22 stories. 9%.

These are listed in alphabetical order by author and does not reflect the order they will appear in the book.

Utter Fabrication cover art“The Girl Who Gives Me Sunsets” by Ali Abbas
“Oshima” by Nyri Bakkalian
“Memories of Farrowlee Beach” by S. E. Casey
“Outlier” by Julian Dexter
“Every House, A Home” by Evan Dicken
“The More Things Change” by Carolyn Drake
“The Orpheus Well” by Dorian Graves
“Kingston Asylum” by Diana Hauer
“The Safe House” by Georgie Hinojosa
“The High Cost of Answers” by Michael M. Jones
“A Pocket Guide for Mistress Horne’s Home for Weary Travelers” by Gwendolyn Kiste
“Thump House” by M. Lopes da Silva
“Stand Not Between a Cat and His Prey” by Christine Lucas
“Hum” by Audrey Mack
“Caution” by Lyndsie Manusos
“Can’t Be Locked Down” by Alanna McFall
“Кориолан (Koriolan)” by Alexander Nachaj
“Remnants” by Timothy Nakayama
“The Language of the Mud” by Betty Rocksteady
“Heart of the City” by Ian M. Smith
“Visitor’s Guide to the Waterfalls of Froskur National Park” by Kathryn Yelinek
“Sector 5” by E. R. Zhang

For some of our authors, this will be the first time they’ve had a story published! We love it when we get to introduce the world to new authors!

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Introduction to the Epic of Centipidus

An essay by Edward Mathis, as provided by Hamilton Perez
Art by Leigh Legler


You were likely drawn to The Epic of Centipidus by one of two factors. The first is the legend itself: full of mystery, intrigue, adventure, and war, taking place on the smallest grand theater a story can be set. Whether it be the pill bugs rolled down mole-hills, crushing enemies in their path; or the labyrinthine, cavernous abode of the ants which no traveler can escape without the aid of the capricious Queen; or the taciturn hero, who famously has “more legs than words at his disposal,” it’s no wonder the epic has been described as “the Iliad of insects.”[1]

I suspect, however, that what brought you was not the wonder of the tale, but the second factor, which has received far more attention.

It began with my insistence that I be listed as the book’s translator, rather than its author. This, of course, begged the question: Who wrote it? and my answer has turned friends and colleagues against me, but it also inspired a trend of searching uncut lawns for strange glyphs written on grass leaves.

As academics debated the issue, the media largely lampooned it. Fox News did a roundtable discussion which cast the unlikely spotlight on “experts” in the field. Forget Joe the Plumber–Terry the Exterminator is here to tell you there are no bug languages, bug cultures, or bug books.

The Nightly Show did a skit in which Larry Wilmore interviewed a giant grasshopper in Groucho Marx disguise. The conspicuously named Hugh Mann claimed to be an entomologist and assured us that there is no secret insect society, and we should all just go about our lives grazing grasslands and raising pupae.[2]

Despite the evidence included in the appendices, skeptics have persisted in painting me as a puppet master pulling strings in an elaborate and theatrical hoax. But it was never my ambition to inspire the budding field of cultural entomology. That was something passed on to me by my father, and I think it cost him his life.

~

The last I ever heard from him was a strange voicemail he left me. He’d found something unusual on his Missouri acreage, something he couldn’t make sense of. “If you look closely–” The message cut off.

When I tried getting hold of him, my calls just went to the answering machine. Dad refused to own a cell phone, let alone carry one, so at first I didn’t worry. But after a few days without word, I grew concerned. He was all alone out there; meanwhile, I was deconstructing texts half a country away.

Three days after that first message, the phone rang. I rushed to answer it, and on the other end, the compassionate but no less official voice of Seligman P.D. asked if I was Gregory Mathis, Dad’s next of kin.

The tinny voice informed me that a neighbor found him in his home, sprawled across the kitchen floor after an apparent stroke.

All sorts of things ran through my head then–none of them what should have: “If you look closely–”

It didn’t occur to me that there might be a connection between his final message and his death. Not until after I returned to my old home and saw the strange glyphs he’d been drawing, the leaf-litter scattered through his office, did the uneasy sense of foul play first creep into my mind.

Art for "Introduction to the Epic of Centipidus"

In order to keep incoming generations literate and in touch with their cultural heritage, it was necessary to periodically introduce crickets from the fields into the terrarium. When I first spotted Crickthus, I mistook him for a cockroach, so large was he and so dark his coat. But he was clearly writing, perched atop a thick blade of grass.

Editor’s Note: Edward Mathis was reported missing four days after submitting this introduction. Authorities are following several leads regarding his whereabouts.

[1] Anthony Gallego. “A Bug’s Lie.” Time Mar. 2016: 64. Print.

[2] Of course, insects don’t actually rear their young. One can’t help feeling the joke would have landed better if a little more research had been put in beforehand.


To read the rest of this story, check out the Mad Scientist Journal: Spring 2017 collection.


Edward Mathis is a cultural entomologist, lecturer, and the acclaimed translator of many controversial texts including Seven-Legged Spider, Stone and Carapace, and The Life and Death of Icthyl.


Hamilton Perez is a writer and freelance editor living in Sacramento, California. He enjoys long walks through the woods and things that aren’t real. His stories have also appeared in Daily Science Fiction and Between Worlds.


Leigh’s professional title is “illustrator,” but that’s just a nice word for “monster-maker,” in this case. More information about them can be found at http://leighlegler.carbonmade.com/.


“Introduction to the Epic of Centipidus” is © 2017 Hamilton Perez
Art accompanying story is © 2017 Leigh Legler

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Mad Artists Making a Creepy Podcast!

Image for Morbid MomentDo you like spooky stories? Have you lost entire hours reading about monster lore and bizarre unsolved mysteries on Wikipedia? Are you super-fascinated with this one serial killer, but don’t really tell people because you don’t want them to think you’re some sort of secret psychopath? It’s okay, friends. The crew from Morbid Moment totally understands.

Morbid Moment is a biweekly podcast where occasional-MSJ artist Katie Nyborg (AKA Stick) brings a creepy subject to the table and regular-MSJ artist Leigh Legler (AKA Red) provides snarky commentary. Together, they aim to explore ghost stories, monster myths, strange happenings, and supernatural phenomena in a casual, factual, and respectful way.

So far, they’ve covered a legendary wolf attack on Paris, a female killer who used personal ads to lure her victims, a girl possessed by a friendly spirit, a frozen ghost ship, and how to kill vampires.

You can find them on iTunes, Google Player, Castbox, and SoundCloud–just search for Morbid Moment. They have a Patreon where you can help them improve their recording equipment and get cool behind-the-scenes exclusives. They welcome comments and topic suggestions at morbidmomentpodcast@gmail.com.

Enjoy!

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Review of Never Now Always by Desirina Boskovich

Never Now Always by Desirina Boskovich (Broken Eye Books, 2017) is a young adult novella that explores memory, time, and family. Lolo is one of the “rapt children,” young people who are studied by aliens known as the Caretakers. The Caretakers keep these children in their labs because they are interested in learning more about how humans process memories. During one of her memory sessions, Lolo recalls that she has a sister, and after that moment, she rebels against the Caretakers’ normal system in a desperate search for her missing sister.

Never Now Always, told mostly from Lolo’s perspective, but occasionally from her sister’s perspective, is a dizzying tale fraught with confusion from the protagonists, but written clearly enough for the reader to tease out bits and pieces of what is going on. It is the sort of book that can be a very quick read, but also one that would likely stand up well to multiple readings, which may make some of the plot elements even more clear.

This book is billed as a young adult novella, but some of the themes within the book, like family and identity, might make it seem a bit more like a middle reader book. However, the ending of the book (which I don’t want to give away) convinced me that this book is much more appropriate for young adult and adult readers.

Never Now Always is available for pre-order at Amazon or the Broken Eye Books website, and will be released on June 27, 2017.

The publisher provided us with a free copy of this publication in exchange for an honest review.

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Lily in the Moonlight

An account by Professor Fia McCauley, as told to Maureen Bowden
Art by Luke Spooner


My namesake, Saint Fiacra, is the patron saint of gardeners, so I was destined to be a botanist. I specialised in lilies, the loveliest of flowers, but their beauty has too brief a life before it suffers, in Shakespeare’s words, “The wrackful siege of battering days.”

My life’s work was to produce a hybrid lily possessing longevity. Obtaining seeds from the most long-lived species, I cross-pollinated again and again. The lilies didn’t like it. Virginal by inclination, they prefer to reproduce asexually, by splitting their bulbs, allowing each segment to grow into a new plant. It was necessary, however, for me to subject them to the indignity of seeding, in order to achieve my goal.

I had friends in those early post-war days: former students from university, clinging to bizarre nicknames, hanging on to old relationships, before making their way in the world to find their niches, and leave me to mine. They visited me from time to time.

“What’s the plan, Fi?” Jinks said. “Propagating man-eating plants to protect us against the next potential invader?”

“Don’t be an ass,” Bunty said, helping herself from my dish of assorted nuts and berries. “If Fi was doing that, the government wouldn’t let her tell us. Do you want to be hanged as a spy?”

Corky picked up my mandolin. “Give us a burst on your banjo, Fi.”

I forced myself to smile as I took it from him. “It’s a mandolin, not a banjo.”

“What’s the difference?”

“A mandolin’s more feminine.”

I led them into the garden, where they were less intrusive, and I laughed at their lunacies until they left.

In time, the visits grew less frequent, then they stopped. I was happier without the distraction.

Art for "Lily in the Moonlight"

Forty years later, I still looked no older than twenty-five, and my Lily remained in bloom. She was my closest companion.


To read the rest of this story, check out the Mad Scientist Journal: Spring 2017 collection.


Professor Fia McCauley was born in 1920. She studied at the Northern England University College of Horticulture, making a valuable contribution to the development of farming practices and food production throughout World War II. She obtained a PhD, and when the war ended, she purchased a smallholding from university land and turned her attention to botany. She died in 2016, bequeathing her estate back to the university. The students still tend her flowers.


Maureen Bowden is a Liverpudlian living with her musician husband in North Wales. She has had eighty-four stories and poems accepted for publication by paying markets. Silver Pen publishers nominated one of her stories for the 2015 international Pushcart Prize. She also writes song lyrics, mostly comic political satire, set to traditional melodies. Her husband has performed these in Folk clubs throughout England and Wales. She loves her family and friends, Rock ‘n’ Roll, Shakespeare, and cats.


Luke Spooner, a.k.a. ‘Carrion House,’ currently lives and works in the South of England. Having recently graduated from the University of Portsmouth with a first class degree, he is now a full time illustrator for just about any project that piques his interest. Despite regular forays into children’s books and fairy tales, his true love lies in anything macabre, melancholy, or dark in nature and essence. He believes that the job of putting someone else’s words into a visual form, to accompany and support their text, is a massive responsibility, as well as being something he truly treasures. You can visit his web site at www.carrionhouse.com.


“Lily in the Moonlight” is © 2017 Maureen Bowden
Art accompanying story is © 2017 Luke Spooner

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Waiting

An essay by Riley, as provided by Eddie Newton
Art by America Jones


Waiting. Always something difficult for me. I am more of an instant gratification kind of personality. But I learned a long time ago that there are some things worth waiting for.

All sorts of people waited. A septuagenarian with a deviated septum sniffed as she sat in a seedy settee. A garrulous gentleman going on and on about the impending elections offered her a crimson kerchief. Three little sisters that may have been separated by only a year sat in a neat row, blonde, blonder, and blondest in order of age, still and silent as they waited for a name to be called. The mother was pale as paste, hair sculpted from gray clay, attire a collage of contrasting colors like some demented diorama: chartreuse shirt, cerulean scarf, scarlet satchel, indigo earrings.

There were looks. Always looks. From the first time that I stepped out the door on Winston’s arm, we garnered looks. Sidelong glances, muttered opinions, insinuated insults, even overt invectives. We weathered withering vilification because at the end of every day, love wins.

Until it doesn’t.

A nurse came into the waiting room and called a name. A thin middle-aged man with a massive mustache and silver sideburns and only thin strands on his skull answered, stood. As he passed us, he made a face of disgust. We were a progressive couple, and the balding man was traditional from his khaki trousers to his brown bowtie. Winston shrugged off the sanctimonious sneer, but as always, it made me fidget and wane.

“We’re next, Riley,” Winston observed, taking my hand.

Colors collided. His skin was light and bright against my dark complexion, like the interior of a peach holding the brown pit at its center. Winston was beautiful: every freckle one I knew by heart, each imperfection evidence of an ever-changing appearance, new scars simply accentuation of experience.

“Are you sure about this?” I asked.

Winston nodded without hesitation. “They say it is the only way we can be together. I would do anything to make that happen, Riley.”

“I know,” I said.

The world was not ready for couples like Winston and me. Shunned, shamed, accused of immorality, our love was a precarious predicament, something natural that had become a trial. We were judged injuriously, accused unjustly, and suffered unsolicited scorn. Just because we did not fit the mold. Ever something different, the world always searched out new subjects for subjugation. Once upon a time, the public would have declared deliberated disdain due to differences in race. As America moved on, mixed marriages became commonplace and society looked for someone else to eschew.

Art for "Waiting"

When Exco Shakespeare invented a construct made of vibrating beams of light, it was revolutionary. Solid light, able to do physical work. Machines made of lasers. At first, the Hard Light Constructs were used in place of heavy machinery, or in toxic environments unfit for flesh, or as infantry in the last of the global conflicts. Technology evolves, so HaLiCons became personal assistants and assisted care for the elderly and nannies for America’s toddlers. Then HaLiCons became a part of society. Then something more.


To read the rest of this story, check out the Mad Scientist Journal: Spring 2017 collection.


Riley has never really fit in. Years spent at university were like lessons on how to be the same as everyone else, how to group-think, how to suppress differences and join the collective. Riley would never be like anyone else. Then Winston came along and the world changed. The things that always kept Riley apart from everyone made no difference to Winston. They fell in love. Now they enjoy midnight walks along the river and sitting along the shores staring up at the stars. But something still keeps them from being truly together.


Eddie Newton was awarded the Robert L. Fish Memorial Award for the Best First American Mystery Short Story of the Year. His short story, “White,” is presented in the anthology Snowpocalypse. He is the author of the political thriller e-novel, American Herstory. He lives in North Dakota with his wife Treina and his four children: Kobe, Gage, Oliver, and Bennett. He has never been called a mad scientist, although he did get really angry at a test tube once. And like most of us, he is still waiting…


AJ is an illustrator and comic artist with a passion for neon colors and queer culture. Catch them being antisocial on social media @thehauntedboy.


“Waiting” is © 2017 Eddie Newton
Art accompanying story is © 2017 America Jones

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Catching Up with Our Mad Scientist Authors

We’ve been remiss in posting about other things that our alumni have been up to, so here’s a recap of some of the news we have to share!

The Centropic Oracle, which hosts audio versions of short stories, includes a number of MSJ alumni among their early stories published. You can hear audio versions of stories by Liam Hogan, Jennifer R. Povey, and Richard Zwicker here. Check them out this summer for another story by co-editor Dawn Vogel as well!

The Memory Thief, Sarina Dorie’s Japanese steampunk novel is now available for 99 cents on Kindle and is free at Barnes and Noble.

Frequent contributor Judith Field has joined the staff of Red Sun Magazine as their science fiction editor.

Lucinda Gunnin has recently published Seasons of Horror: A Short Story Anthology.

Bobby O’Rourke’s story “For Goodness Sake” was selected as the second place story in Albedo One‘s 2015 International Aeon Award Short Fiction Contest. The story will be published later this year.

Bobby Riahi has had two new stories published recently. You can find “Whiskey the Clown” at Dime Show Review and “Killa Watts: The First A.I. Rapper” at Sci Phi Journal.

J. Lee Strickland has had a number of stories published recently:  “Da Capo al Fine” won first place in the 44th Jerry Jazz Musician Short Fiction Contest. Newfound published “The Turning of Pesh Thanat”. And “Chorni Diamanti” appears in Jenny Magazine, the literary magazine of Youngstown State University.

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Birthing Fire

An essay by Dr. Henrik Ahlstrom, as provided by Dantzel Cherry
Art by Leigh Legler


DR27-6 wobbles one last time, and a crack laces across the marble shell, etched by a small egg tooth. White and red fluids spill out. The tooth saws back and forth a few times, then stops.

I dim the lights and wait.

Another few moments and an azure head pops out–a male, then. His slanted copper eyes shift around the room.

He’s calm, which means he hasn’t recognized me as a threat yet. I know the cameras and monitors are at work, so I wait patiently. One step onto the heated rocks, then four more in quick succession for the rest of his body to be free.

Something threatens him–the basking bulb, presumably–and he releases FPI44. Moving at such high pressure from the oral glands, the FPI44 compound bursts into flames and I measure seven inches. I suppose that makes DR27-6 the fiercest, strongest specimen in this round of the project, but this is not enough to get my hopes up. He will likely end up like the rest. His fierce eyes, though … they burn with life.

The blue on his head spreads downward and shares space freely with marigold until intermixing with crimson on the sailfin. His wings are beautiful, and functional–at least in theory. They’re useless in the first few hours of life. Once we engineered functional wings in stage 2, we added the gene expression inhibitor to turn off the God-given poison production in the oral glands, and added the FPI44 gland specific inducer in stage 3, which doesn’t agree with the neurons required for flight. I convinced Tom to speak with Monsieur Benefactor about being content with flying, non-fire-breathing dragons, but Monsieur was quite insistent.

Officially we name them with sterile, passionless identifications such as DR27-6, so that’s what I record for Tom and the herpetologists. But alone in the basement like this, wild eyes glaring at me, he is more. DR27-6 is Fafnir, the strongest dragon of them all.

Art for "Birthing Fire"

The blue on his head spreads downward and shares space freely with marigold until intermixing with crimson on the sailfin. His wings are beautiful, and functional–at least in theory. They’re useless in the first few hours of life. Once we engineered functional wings in stage 2, we added the gene expression inhibitor to turn off the God-given poison production in the oral glands, and added the FPI44 gland specific inducer in stage 3, which doesn’t agree with the neurons required for flight.


To read the rest of this story, check out the Mad Scientist Journal: Spring 2017 collection.


After earning a PhD in Cell and Molecular Biology from Stanford University, Dr. Henrik Ahlstrom completed a post-doc at University of Virginia Center for BioTechnology and another at Scripps Research Institute as the primary investigator for the groundbreaking paper, Directed Induction of Foreign Tissue Growth in any Eukaryotic Host. After a short stint as Chief Scientific Officer for Bilon Therapeutics, he has since been involved in an undisclosed research project for a private laboratory in Belgium.


Dantzel Cherry teaches Pilates and raises her daughter by day. By night and naptime, she writes. Her baking hours follow no rhyme or reason. Her short stories have appeared in Fireside, InterGalactic Medicine Show, Galaxy’s Edge, and other magazines and anthologies.


Leigh’s professional title is “illustrator,” but that’s just a nice word for “monster-maker,” in this case. More information about them can be found at http://leighlegler.carbonmade.com/.


“Birthing Fire” previously appeared as the 2nd place winner in the Story Star Publishing Short Story Contest in 2012.


“Birthing Fire” is © 2012 Dantzel Cherry
Art accompanying story is © 2017 Leigh Legler

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That Man Behind the Curtain: March 2017

Picture of Creepy Bunny People

They were wandering the halls of Norwescon near midnight before Easter, asking people if they wanted candy from strangers. No, really.

March was a hectic flurry of activity in the wake of our Kickstarter ending: shipping out backer rewards for add-ons, getting Spring 2017 out the door, and dealing with the tsunami of slush that came in for the anthology.

The Money Aspect

Amounts in parentheses are losses/expenses.
Hosting: ($17.06)
Stories: ($75.00)
Art: ($300.00)
Advertising: ($30.00)
Processing Fees: ($527.55)
Printing: ($276.15)
Conventions: ($50.00)
Donations: $53.05
Ad Revenue: $0.30
Kickstarter: $5,355.00
Online Book Sales: $31.78

Total: $4,164.37
QTD: $3,074.33
YTD: $3,074.33
All Time: ($16,950.14)

As usual, I try to list costs for art and stories under the month that the stories run on the site rather than when I pay them. (This does not apply to special content, which does not have a specific month associated with it.) Sales are for sales when they take place, not when it’s actually paid out to me.

Though our Kickstarter raised $5,459, $343 of those pledges did not successfully process. There’s always a few pledges that don’t clear, but we don’t usually hit that high. Backerkit allows us to collect additional funds, which allows backers a second chance to pay if their credit card didn’t go through. It also allows last minute add-ons. The Kickstarter total is the amount successfully processed ($5,116) plus the amount collected later ($15), plus the add-ons that backers purchased on Backerkit ($239). It still leaves a $300+ hole in our original pledge total that we probably won’t recoup.

Submissions

We were open to submissions in March for the new anthology. We’ve received 242 submissions and are still in the process of reading slush. I’ll have to give an update next month regarding acceptance rate. Prior to this, our all time acceptance rate was 44.2%.

Followers

At the end of March, we had:

Facebook: 1,621 (+32)

Twitter: 519 (+10)

Google+: 63 (+0)

Tumblr: 225 (+10)

Mailing List: 75 (+2)

Patreon: 15 (+1)

Traffic

In February, we had a staggering 3,344 visits. Triple what we normally have. 2,139 users and 1,599 page views. Our peak day was 379 visits.

As best I can tell this is legit? We’d had a problem for a while with “referral spam”, but I have mostly fixed this. The bulk of this traffic has been arriving at our Submissions page. With the submission period over, the traffic has gone back down to usual volume in April. Apparently being able to offer more money to authors is good for traffic. Or, at least, traffic to that one page.

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