Deadline: August 31st, 2015
Payment: One cent per manuscript word. Max payment of $50.00 (USD) per story – for those submissions that may exceed the alloted word count. Another payment option we are offering is: One-time payment of $25.00 for publication of your story + a physical contributor copy / including cost of shipping / to be mailed out 90 days from date of publication.
Scarlet Galleon Publications would like to ask,
HOW DEEP DOES YOUR FEAR GO?
Scarlet Galleon Publications is proud to announce our next project, FEARFUL FATHOMS: Collected Tales of Aquatic Terror. This anthology is targeted to launch Memorial Day Weekend 2016, just in time for next year’s summer beach reading season!
We will be opening a call for submissions on August 1, 2015, which will run through August 31, 2015. We are looking for terrifying tales to comprise this new horror collection that will be the well-anticipated follow up to our acclaimed inaugural publication,DEAD HARVEST: A Collection of Dark Tales, which we are proud to announce debuted at #1 on Amazon’s Hot New Releases in Horror and Bestselling Anthologies in Horror. It has remained in the Top 100 since its publication in November, 2014.
For fans of tales such as MOBY DICK, JAWS, THE DEEP, BEAST, MEG, THE ABYSS, BELOW, THE FOG, OPEN WATER, THE LOCH(and far too many other titles to mention here), this new anthology should be right in your wheelhouse! Whatever kind of aquatic tale causes your breath to turn sporadic, and makes the blood in your veins go ice-cold, should be the kind of story you’ll want to write. Thematic note: While Lovecraftian tales are certainly welcome, this is not a project soley centered on the Lovecraft mythos.
What we are looking for – Stories set in or around water, which is to say: the beach, the ocean, islands, lakes, ponds, or even rivers, as long as the stories are dark, atmospheric, and, above all, well-written and chilling. We want these stories to stay withreaders long after Labor Day has come and gone!
What we are not looking for – Stories merely focused “on” water (the dripping sound of it, the frigid temperature of it, etc.) ThinkTHE PERFECT STORM…or Stephen King’s THE MIST!
DEADLINE: August 31, 2015
WORD COUNT: 2,000 – 5,000 (query for submissions that are a bit shorter or longer / no flash fiction please)
REPRINTS: Please query
MULTIPLE SUBMISSIONS: No
SIMULTANEOUS SUBMISSIONS: No
FORMAT: Left-justify only
FONT: 12 pt Times New Roman
SPACING: Double-spaced. No extra spacing between paragraphs. Scene breaks should be denoted by a centered # symbol. Please use only one space after periods.
TABS: Please do not set tabs. Rather, use Word’s paragraph formatting tool to set a first line auto indent of 0.3″ (Other settings will require reformatting on the contributor’s part, potentially pushing their submission past the deadline date)
PAGE NUMBERING: Lower right hand corner (along with the page number, please include the title of your submission and your last name in the footer; please place nothing in the header)
TITLE PAGE: Please include the following information in the upper left hand corner of your first manuscript page:
– legal name (and pen name if you write under one)
– mailing address
– phone number
– email address (and PayPal account contact info for the purpose of payment)
– final word count
Submissions should be sent as a Word attachment (doc or docx) to: firstname.lastname@example.org
Please include FEARFUL FATHOMS and the title of your submission in the subject line of your email.
PAYMENT: One cent per manuscript word. Max payment of $50.00 (USD) per story – for those submissions that may exceed the alloted word count. Another payment option we are offering is: One-time payment of $25.00 for publication of your story + a physical contributor copy / including cost of shipping / to be mailed out 90 days from date of publication.
PUBLISHING RIGHTS: Scarlet Galleon Publications LLC will NOT require exclusive rights’ retention to any submission that is accepted for publication in FEARFUL FATHOMS: Collected Tales of Aquatic Terror. However, we would require that you refrain from republishing your work elsewhere until after the book has gone on sale.
We would like to thank you for trusting your work to Galleon. We look forward to reading your submission!
Mark Parker, Owner / Managing Editor
Scarlet Galleon Publications LLC
Via: Scarlet Galleon Publications.
Deadline: October 1st, 2015
Payment: 2 Cents Per Word
Mythic Delirium is an online and e-book venue for fiction and poetry that ranges through science fiction, fantasy, horror, interstitial and cross-genre territory— we love blurred boundaries and tropes turned on their heads. We are interested in work that demonstrates ambition, that defies traditional approaches to genre, that introduces readers to the legends of other cultures, that re-evaluates the myths of old from a modern perspective, that twists reality in unexpected ways. We are committed to diversity, and are open to and encourage submissions from people of every race, gender, nationality, sexual orientation, political affiliation and religious belief.
We publish 12 short stories and 24 poems a year. Our quarterly ebooks in PDF, EPUB and MOBI format, published in July, October, January, and April, will each contain three stories and six poems. We will also publish one story and two poems on our website each month.
The rights we purchase are First World Serial Rights and First World Electronic Rights in the English language.
Short stories: We are seeking short stories of up to 4,000 words. Electronic submissions only. Word limit firm. No unsolicited reprints. No simultaneous submissions. No multiple submissions. Please use the words “fiction submission” in the e-mail subject line. Stories should be sent in standard manuscript format as .rtf or .doc attachments. Payment is 2 cents/word on publication.
Poems: You may submit up to 6 poems at a time of any length. Electronic submissions only. No unsolicited reprints. No simultaneous submissions. Please use the words “poetry submission” in the e-mail subject line. Poems may be included in the e-mail or sent as .rtf or .doc attachments. Payment is a $5 flat fee on publication.
All submissions should be sent to mythicdelirium[at]gmail[dot]com.
NOTE: We do not use an auto-responder system. However, we post updates on our website about the stages we’ve reached in the reading process, so please check back frequently. Queries welcome at any time.
Via: Mythic Delirium.
Online Submission System
Please note that you should expect a response to your submission within three months. If you haven’t heard by then please send a query email to email@example.com
Please don’t submit your piece simultaneously to another publication.
What We Want
Firstly we recommend that you read some of the first issue of Alt Hist to get a flavour of what we publish, either the sample material or better yet go and buy yourself a copy.
1. Must be a short piece of fiction – under 10,000 words.
2. Must be either historical fiction, alternate history, or historical fantasy.
3. Must be a well written character based story rather than an exercise in ‘what if …’
4. Must not be simultaneously submitted to another publication.
5. Must be an original work that has not been published elsewhere.
Reviews and articles about historical fiction, alternate history books, genres and writers are welcome and criteria 2) and 3) above also apply.
We would love to have your artwork to illustrate the magazine and website. In fact we need a nice image for the website asap, so if you have something you would like to contribute we’ll count you in for a share of the first two year’s profits as well!
Please let us know what rights you are granting us and be aware that the magazine will be published as an ebook and printed book.
How To Submit
Please submit using our online submission system provided by submishmash.
If you are having any problems submitting or want to ask a question contact us at:firstname.lastname@example.org
In the subject line please put: Fiction Submission, Non-Fiction Submission, Artwork Submission as applicable.
In the body of the email tell us a bit about yourself and any previous publishing credits.
If submitting text please use standard manuscript format.
How We Pay
Please note this has changed recently.
We currently offer a token payment of either $10 per accepted submission or a free copy of the print version of the issue in which your work features. You will also receive a free PDF copy of the issue.
We are looking for First English Language serial rights, which means that we have the right to publish it first before it appears anywhere else. Once published you could then publish the story elsewhere if you wish, such as an anthology for instance.
Via: Alt Hist.
Deadline: August 31, 2015
Payment: $0.01 per word, rounded up to nearest $5.00 US
Local Hero Press is pleased to announce we are now accepting submissions for an anthology of original superhero fiction short stories, called Caped. Here is what we’re seeking:
- Original superhero fiction stories that get into more depth about being a superhero than basic secret origin tales or superhero-versus-supervillain. Who are these people who have strange and wonderful powers and choose to use them for great justice? What makes them tick? Your characters should be original creations. We cannot consider work utilizing licensed characters.
- Genre: Superhero
- Style: Open to all/most styles
- Subjects: Open to all/most subjects
- Length: Up to 5000 words
- Payment: $0.01 per word, rounded up to nearest $5.00 USD, paid via PayPal upon final acceptance of the contract by all parties.
- Type of submissions accepted: Electronic only, see below for precise requirements
- Reprints? No
- Multiple Submissions? No
- Simultaneous Submissions? Yes
- Submissions close: August 31, 2015. This may be extended if required.
- Response time: 4 weeks or sooner.
- Publication date: December 1, 2015 or later if submissions period is extended.
You are submitting your work to Local Hero Press for publication in ebook and print format. We request exclusive worldwide rights for a period of six months from date of publication, followed by non-exclusive worldwide rights for a period of five years that renews every year afterward automatically unless cancelled by you or Local Hero Press. We will make no major alterations to your work, although we reserve the right to make minor copy-editing changes, subject to your approval prior to publication. If we determine we want to publish your work, a conditional offer will be made and you will receive a contract.
Failure to follow these requirements pretty much guarantees we will reject your work. Email your submission as an attached .doc, .rtf, or .odt (our preferred format) to email@example.com. Put in the subject line: CAPED Submission: (Story Title) by (Your Name). Give us a short summary of your story in the email body (no more than two or three sentences), and a short summary of who you are (previous publishing credits, etc.). Include your word count in the email.
Your manuscript should follow standard formatting protocol. We prefer Times New Roman and hate Papyrus. Please ensure your story is free from typos, spelling and grammatical errors. If you have questions, contact us at firstname.lastname@example.org.
Good luck and we’re looking forward to seeing what you have for us!
Via: Local Hero Press.
Deadline: August 25th, 2015
Payment: Payment will be portional to all the authors of 50% of book profit
We are looking for great Ghost Stories fiction, non-fiction, poetry, and photography.
Please consider the following guidelines before sending your work:
Poetry: 1-3 poems; typed. Please include your name on each poem.
Fiction/ Creative non-fiction/ Essays: 500-3500 words; typed, double-spaced, 12-point, Times New Roman font. Please submit all written work as pdf file.
Photos: 3-5 black and white .jpg images no larger than 8 x 10 with a minimum 300 dpi resolution.
Deadline for all submissions is AUGUST 25, 2015.
Submit to: sezpublishing[at]hotmail[dot]com
Each Submission should come in a separate e-mail.
In the body of the email include the following:
I, (name) am submitting my work to SEZ Publishing (title) for consideration. I offer the rights for this work. sign/date
FORMAT DOCUMENT pdf:
500-3500 words; typed, double-spaced, 12-point, Times New Roman font.
First page should include title, word count and author information.
Paginate in the header upper right corner /Author’s last name above the pagination.
If selected authors will be contacted to sign a contract. Payment will be portional to all the authors of 50% of book profit.
Via: SEZ Publishing.
Deadline: September 15th, 2015
Payment: Authors receive 40% royalties on short stories and novels. Anthologies pay a share of the royalties based on number of authors
Standing Open Calls
All submissions must adhere to the Submission Guidelines. A download of our house style and submissions format is available on the Submissions page.
Traditionally, winter is a time for weird and creepy tales, stories to pass the long, dark nights. So, give us creepy and chilling, sending a shiver down our spines as we huddle near the fire and turn the yellow lamplight up a little brighter against the darkness. Ghosts, spectres, unearthly creatures and things that go bump in the night lurk just outside that lit window, and sometimes…they look inside.
Pairing: None (Non-Erotic)
Happy ending not required.
Expected Release: December 1st, 2015
Via: Ink Stained Succubus.
Deadline: September 15th, 2015
Payment: $5 per author and a contributor’s copy
Note: At this time Horror Honey Press is a digital only market. If that changes they will also provide physical copies down the line.
Ed: K.A Morris and LinnieSarah Helpern
Submission Deadline: September 15th, 2015
Accepting 8-10 authors depending on the quality of the entries
Paying $5 per author (via PayPal ONLY) + a Contributor’s Copy
Short horror – 2,500 wds max
*Theme:* Possessed or Haunted items – these items can range from an article of clothing to an internal organ – how does that old saying go? One man’s trash is another man’s treasure?
*Also accepting LIMITED horror poetry in the same theme. *
Poetry submissions are UNPAID.
*Submit all entries to email@example.com
*WORD or PDF format.*
*Please include your author blurb and a logline/brief synopsis of your story in your email. *
*All entries MUST BE UNPUBLISHED and entirely original, no reprints.
A few years ago, a friend called me saying her creative well had run dry, that perhaps her muse had drowned itself somewhere in her stream of consciousness. My friend was concerned because she wanted so desperately to write something (in her case, poetry), but the spark of inspiration just wasn’t there. Writer’s block had come down hard on her, an inconvenience I knew all too well.
To jumpstart her creativity, I had her close her eyes and describe a room. She chose a small kitchen and, when I asked for a tour, she included a stove, cabinets, and a dining table. I asked her to show me another room. She told me about the hallway leading to a living room with hardwood floors and shelves packed with book (go figure). I could hear the focus in her voice as she imagined this quaint little house and it thrilled me because I was sharing in her creative experience.
Suddenly she told me about the raindrops she could hear on the roof. I asked her to take me outside, which she did with a tone of wonder.
She described the feel of the drops, how they were light and cool. She told me about the clean smell of foliage and flowers. She even told me about the pitter-patter of the drops on the sidewalk around us.
“What’s that on the sidewalk?” I asked after a moment. She asked me what I’d meant and I asked, “that thing there on the sidewalk… do you see it?”
“A blueberry,” she replied without a beat. The answer was strange, but satisfying because it was a centerpiece to this mental tour of ours. I didn’t ask her why a blueberry was on the sidewalk in the rain or the Freudian implications of such imagery, I merely let her take in this world she’d created from nothing.
“You created this whole place,” I told her. “And you said inspiration had left you.”
She was silent for a moment before laughing and thanking me. She said that, although she hadn’t found an idea for a new poem, she was overjoyed in having been reminded how powerful creativity could be. I was happy that she had found light at the end of the tunnel. Sometimes that’s all we need to see, just a crack in the roadblock to remind us that we don’t work in vain and that we have the power to create and renew.
Although I prodded my friend on, she was the creator of her own little world. Sometimes we need to be reminded of how powerful our imaginations are, a fact we all took for granted when we were little kids running through the streets with our pretend swords and make-believe steads. Imagination is a rejection of the malaise of adulthood, a means to escape the everyday blandness of work-eat-sleep. We need to remember this as creators of stories.
So, we just need to step back and let the story tell itself. We are lightning rods of creative energy, translators of the internal ether. But in the grind of creation, we often forget to just sit back and imagine. The secret heart inside each of us is always speaking of the fantastic and bizarre, but we don’t often shut ourselves down long enough to let the voice be heard through the chaos of “everyday.” But if we pause and listen, we can pick up the story asking to be told. We can save our muses from the torrent of thoughts inside and the maelstrom of the mundane within.
Dion Winton-Polak is a reviewer, podcaster, self-confessed idiot, and the editor of the KnightWatch Press anthology, Sunny, with a Chance of Zombies. I caught up with him to talk zombies, red pens, and how a writer can get that much-desired ‘yes’.
Tell us a bit about your background and how you found yourself editing the KnightWatch Press Anthology, Sunny, with a Chance of Zombies.
Okay, well I’ve been a reader all my life. Books are as much a part of me as fingers and kidneys. I wallowed in English Literature through to University level, developing my critical faculties but never really knowing what I was going to do with them. I suppose I assumed I would be a writer, but writing was never a habit or a hobby with me. It was always reading.
Fast forward through a move to Wales, a wedding, a sequence of terrible or simply tedious jobs, then pause on a copy of SFX magazine. A little article pointed me towards the Geek Syndicate website and the world of podcasting. I lost myself in both for a while and then started to wonder why there wasn’t more content focused on books. I got in touch with the guys from Geek Syndicate and offered to write a few book reviews for them. Next thing you know, I’d started my own podcast called Scrolls, which they were good enough to host on their site.
Writing reviews gave me something to do with my brain and podcasting showed me how easy it could be to put myself out there and create something. Doing both also showed me how unbelievably crucial the editing process is in honing your content and getting your ‘message’ across. Many people find editing a picky and frustrating process, but I LOVED it.
The podcast spurred my good buddy and co-host, Phil, into starting his own writing career, and he in turn kept prodding me to fulfil my own potential. I joined the Society for Editors and Proofreaders and whipped through a few of their courses, but I found the expense outweighed the benefits. In the meantime, Phil introduced me to a number of contacts that he’d made in the field of Small Press publishing. You get nowhere hiding in shadows so I got chatting. I got my first paid editing gig by pretty much sticking my hand up and saying ‘I could do that.’ And I’m relieved to say I proved myself right. Since taking on the job I’ve had nothing but good feedback from authors and publisher alike.
Why Sunny, with a Chance of Zombies? It leapt off them page at me. Who could resist that title?
What were you looking for in the stories you accepted?
Interesting question. The answer I would love to give is “The best stories. Full stop.” I requested that I be given no information about the name, age, race or gender of the authors to ensure I was not swayed by other considerations. Of course, there are many other things to consider, not least of which being ‘What does the publisher want from this anthology?’ All I had to go on at first was the title: Sunny, with a Chance of Zombies. My first job was to come up with submission guidelines to give the authors a nudge in the right direction. Theresa [Derwin, KnightWatch Press] told me she wanted something light and enjoyable to make for good Summer-time reading and, during the course of the conversation I latched onto the words ‘strangely uplifting.’
So I guess that was point #1: The stories had to do what I asked – in other words, either put a big grin on my face or kindle a bit of warmth in my heart. If a story did neither, it had no place in this project.
I had something like 45 submissions to whittle down to 12, so I was looking for something to make them stand out from the crowd. In some instances it was elements of world-building – a new slant on zombies or a new way in which they could fit into our world. In other instances it was a particularly strong character – how much I was made to care about these people. I was going to be looking at these stories for a looong time, so I needed to be kept interested too. With that in mind I specifically looked for fresh perspectives and new predicaments for our protagonists to face.
Point #2 then, would be: there had to be something fundamentally memorable about the story. Something that would keep it alive in my mind after I’d put it down and moved on to other things.
Finally, there was the deadline to consider. Now, an editor can do a hell of a lot to help a writer bring their story to life. An editor can help focus a writer on what is important to the plot, an editor can help a writer sharpen their characters, hone their language, remove inconsistencies. However, the more work an editor has to put in to bring the story up to standard, the longer it takes. Time was ticking and I had a whole other life to balance.
Point #3 then: Good writing. There had to be something in the style, something in the dialogue, something in the plot and the flow that was already pretty damned good.
If you’re a writer, particularly a new writer, you might be gnawing your hand off about now. I mean, you can’t force somebody to like what you’ve written. What you can do though, is keep working and reworking your story until you can no longer see how to improve it. You will lose perspective after a while because everybody does, but make it as good as you can. Then submit it and move on to another project. If it is rejected, you may be able to sell it somewhere else, but seek feedback first. Every rejection is a chance to learn, if you grasp it. Not every editor will be forthcoming every time, but take heart. If they see genuine potential in you it will be in their best interest to encourage you for future projects.
What lessons or surprises have you had through the process?
It’s been a fascinating experience, and I’m still processing it as I write these answers. In many ways I had no notion of just how much there was to do in the editorial role. It is a far broader set of responsibilities than I’d imagined, and far more creative. Some people see it as being judgemental; a tutting red pen on a writer’s beloved work. Indeed, there were times where I had to stop myself from using the Red Pen of Doom because my proposed changes would not have materially improved the story, just made it a bit more palatable to me. That’s not my job, it turns out.
It’s strange. Having set the theme and direction of the work, I started to feel more like the conductor of an orchestra. The final 12 stories were no longer individual pieces, but instruments to be played in concert. The order they appear in has a massive effect on the way the book is received as a whole, just as the order of songs will change your experience of an album. They draw strength from each other, build arcs of meaning, can be counterpointed to reveal different nuances, and will ultimately carry the audience through a much larger journey.
Whether you are editing a novel, an anthology, a story or a newspaper advert, it is all about communication. You are there to help the creator get across their ideas, but you can only do that by earning their trust. That means demonstrating that you understand what they are trying to achieve. That means sharing their enthusiasm and celebrating their successes. That also means (tactfully! and constructively!) showing them where they are straying and helping them find their way back. Finally, it means respecting their decisions.
Would you recommend the editor role to others?
I would completely recommend editing to anyone who loves language and anyone who loves a good story. You need a certain temperament. You need to have a feel for what makes a story work. You need to be able to focus your eyes on the minutiae, but still keep your mind on the bigger picture. If you can build a good relationship with a writer, you will become their Everyman audience, their confidant, their safety net. You may be invisible to the readers but you will become an invaluable partner to writer and publisher alike. Something to be proud of.
Many people say that the zombie genre has been done, and there is nothing new to explore with it. What are your thoughts?
To put it tactfully, I think that many people are wrong. If a story lacks imagination then that’s the fault of the writer, not the subject matter. The great thing about zombies is that they are so obviously us. They are our savagery and our pitifulness, our fear of death and even our hope that something might come afterwards. Death is a constant companion; life a constant mystery. How could their combination be a bore? Pick a good story from any genre, strip away the fancy dress and you’ll still have a good story about People. Zombies may be used a backdrop, they may be a thematic tool, they may even be cast as main characters, but they will never be ‘done.’
Pick any setting, any country, any planet and you can have the dead returning to life. But what could it mean? There are infinite possibilities. What would be tedious is telling the same kind of stories from the same kind of perspectives in the same kind of setting over and over and over again. That has been done before; indeed, it’s a function of big businesses to spew out more-of-the-same as long as there is a visible market for it. From their point of view creativity is expensive, time consuming, and never a guarantee of success. (See: Hollywood.)
The joy of Small Press publishing (and in fact, independent projects across all media) is the freedom to be truly creative. Money would be nice but is never the point of the exercise. If inspiration hits, they can try something new. One of the reasons I was hired for this project was because I am not a traditional horror fan. I enjoy it as a genre, but I am not tied up by its conventions and tropes. I had my own freedom to exercise, pulling together a collection of tales to be truly different from the conventional zombie horror. The author response was fantastic, and it is my greatest pleasure to present it to you all. I only hope I get the opportunity to jump back into this sandpit again in the future and push things even further out.
What other projects are on the horizon?
I have a few little bits of work that are still percolating in the background, but nothing with a deadline yet. A couple of the stories submitted for Sunny were too good to reject outright. I shall be working with the authors and KnightWatch Press to find alternative homes for them, either in another anthology or to be expanded and published separately.
Other than that? Well, I work a full-time day job, I continue writing for Geek Syndicate, and I have a family to fill up my time – but I have loved every minute of this editing job.
My aim is to make this my career, which means taking on more work on a freelance basis until I can secure a salaried position with a publisher.
The horizon is wide and the sky is blue. What have you got for me?
You can find Dion on Twitter, and you can pick up a paperback or ebook copy of Sunny, with a Chance of Zombies from Amazon.
Payment: 1 contributor’s copy and: $25 for original work, $12.50 for reprints.
Note: Reprints Welcome
Welcome to the newest, most innovative horror quarterly publication on the planet! Creepy Campfire Stories (for Grownups) began as a stand-alone anthology, launched on May 13, 2015. The response from horror writers across the globe was phenomenal. In less than four months, we received over 220 submissions from all over the globe, from the UK, including London, Ireland, Scotland & Wales; Italy; Belgrade, Serbia; Germany; Poland; Australia; New Zealand; The United States; and Canada! The quality of the stories streaming in was so exceptional that we were able to fill a full, 65,000 word anthology with absolutely amazing and high quality horror stories in less than two months! In fact, we had to close our submissions early, moving our end date back from September 13, to July 13!
Closing our anthology’s submissions so much earlier than originally planned, however, left many authors shut out. It soon became clear to us here at EMP (Electromagnetic Pulse) Publishing, that there were just far too many quality horror writers out there to fit into one single anthology. We next landed upon making the Creepy Campfire Stories (for Grownups) brand an annual publication, every Fall/October, but as submissions to our original anthology continued to stream in, and the quality of the stories continued to astound us, we quickly realized that even an annual publication still wouldn’t fully accommodate the high number of amazingly talented authors of horror/extreme horror that exist today. We wanted to be able to publish, PAY and showcase as many new, up-and-coming horror writers as possible, as well as provide a new publishing outlet to already established horror writers who were starved for new places to submit their ongoing hard work and talent.
That is when the idea for turning Creepy Campfire Stories (for Grownups) into a Quarterly Publication was born.
Creepy Campfire Stories (for Grownups) Quarterly Publication will be released four times a year, on January 20, April 20, July 20, and October 20. The publication will officially launch with issue #1 on January 20, 2016. The submissions period runs year-round, and is conducted through Submittable. The word count limit for the Quarterly is 1,500-6,000 (each Quarterly will range between 30,000-40,000 words total), Stories accepted into the Quarterly publication will be paid $25 per story. All accepted writers will also receive one free contributor’s copy of the Quarterly that features their story.
Creepy Campfire Stories (for Grownups) strives to be a beacon of hope and service to struggling horror writers across the globe. We accept stories from any country (but they must be in English). And now for our submissions guidelines:
All stories must be submitted in English
12 pt. Times New Roman, DOUBLE SPACED
Must be a Word .doc or .docx file ONLY
We prefer NO HEADERS, including page numbers
Please set your auto indent to .2″ or higher, and no spaces between paragraphs
Word limit is 6,000 (hard), and minimum is 1,500
*Payment = $25 per story (reprints = $12.50) + one contributor’s copy
Please include a title page with pen name, story title, word count, contact e-mail and mailing address (for contributor’s copy)
*All authors published in the Creepy Campfire Quarterly will receive full contributor’s credit listing on Amazon, to facilitate links to author pages and publishing credit proofs.
*We ask for exclusive print and e-print rights to accepted stories for 6 months, beginning from publication date of the Quarterly edition your story appears in.
*We prefer original, previously unpublished works. However, reprints can be submitted. If a reprint is accepted for publication in the Quarterly, authors must sign an additional contract stating that the rights to their story have reverted and belong to them. *Reprints will be paid at a half-rate of $12.50.
Profanity allowed? –Of course, it’s a horror publication! Just try not to swear simply for profanity’s sake. Make sure ALL language is fully relevant to the character or tone of the story.
Sexual content allowed? –Of course! Just make certain it belongs in the story. We prefer the super-graphic descriptions be saved for the bloody parts of the story.
Is Gore allowed? –Seriously? You asked us THAT?! Leave this website now. It’s a HORROR publication!
Multiple subs allowed? -Yes, but try not to send in too many at once. Remember, each story will be read in its entirety. The more stories we get, the longer the response time grows.
Simultaneous subs allowed? –Yes. If we accept your story, however, it falls upon you to withdraw your story from all other submissions portals, and properly notify other publishers.
ALL horror is welcome, including ALL sub-genres (science fiction, speculative, magical, fantasy, paranormal, supernatural, psychological, historical, Urban Legend, Original Creepy Pasta, mystical, Occult and extreme). All stories submitted must be original and previously unpublished. *We will accept reprints, but if accepted, author must sign a contract stating that the reprinted story’s copyright belongs to them.
What we don’t want:
NO YA. Remember, this Quarterly is subtitled (for Grownups).
NO straight-up comedy. Levity is great, but we don’t want any full-tilt horror comedy, we want serious stories, designed to frighten, disturb, shock, or otherwise entertain readers.
We generally don’t censor, but we will most probably reject your story if it contains: animal torture or abuse/excessive suffering of animals/pets; graphic descriptions of incest/rape/child molestation/abuse/graphic depictions of pedophilia; racially or sexually offensive, or obviously prejudiced language or tone. We want horror, not ugly bullshit.
Questions? Shoot an e-mail to our owner and Senior Editor, Ms. Jennifer Word at firstname.lastname@example.org
Submittable link and submissions for the Quarterly Publication will open on July 13, 2015.
via: EMP Publishing.