Romie Stott (pronounced like Romeo without the ending o) is an editor at the Hugo-nominated and British Fantasy Award-winning magazine Strange Horizons. Her website is and her social media handles are @romiesays and @stopwalkband. Email: Short Fiction: “A Reclamation of Beavers” (Analog) “Breath” (Not One of Us), “Outlaw Story” (Grasslimb), “Unattached Metaphors” (The Journal of Compressed Creative Arts), “Every Hand A Winner” (Farrago’s Wainscot), “Three Young Men” (King David and the Spiders From Mars), “The Eggshell Curtain” (Daughters of Frankenstein), “The Wishing Hour” (Stupefying Stories), “A Robot Walks Into A Bar” (Arc; We, Robot), “Judith and Holofernes” (She Nailed A Stake Through His Head), “The Hungry Child” (Superficial Flesh; Toasted Cake), “Six Bands You Didn’t Know Were Broken Up By Yoko Ono” (The Toast), Recent Poems: “In Review” (Strange Horizons), “Clawing Through Mud as More Leaves Silt Down, as Plastic Bags, as Cast-Off Bottles” (Hybrid: Misfits, Monsters and Other Phenomena), “Today An Accumulation” (Moist Poetry Journal), “Death Opus” (The Deadlands, issue 1; The 2022 Rhysling Anthology), “Song of Singularity” (OnSpec) Selected Essays: “Fire Ecology, Public Land Management, And AI Sidekicks: The Research Behind “A Reclamation Of Beavers” (The Astounding Analog Companion), “Rules Variation For a Tabletop RPG Over Webcam With Social Dysfunction And No Snacks” (New Rules), “Gender Expression and Exploration in Gaming: A Dialogue with Trick Dempsey” (Strange Horizons), “Holocaust Remembrance and the NeverEnding Story” (Medium), “When Tomatoes Were Blamed For Witchcraft and Werewolves” (Atlas Obscura) “A Futurist Vision of Retirement Planning” (The Billfold), “Defining Speculative Poetry” (Strange Horizons) As a narrative filmmaker (working mainly as Romie Faienza), Romie has been a guest artist at the Institute of Contemporary Art (Boston), the Dallas Museum of Art, and the National Gallery (London). She is half of the electronia duo Stopwalk.