Recent Places To Submit
Deadline: January 31st 2014
Payment: 1 cent per word for original work, nothing for reprints. Also a free digital copy of the issue as well as a discount on the print copy.
We are accepting fantasy, dark fantasy and magical realism submissions for the second volume of our annual anthology. The only hard requirement for this anthology is that it be one of the genres mentioned above. If nature plays a part in your piece, in setting or theme, then it gets extra points but it’s not required.
Submissions open September 1st 2014 and close January 31st (tentative).
We want to see the prompt inspire your writing. To bleed through every letter. If our quarterly is about Apollo, give us stories about the galaxies, about the sun, about archery. Give us stories that breathe Apollo. If the prompt is Artemis, give us forests, give us beasts, give us epic hunts. This does not mean we want stories ABOUT Apollo, or Artemis.
VERY IMPORTANT: Please include a note as to how your story is inspired or relates to the theme/prompt you are submitting to. If you do not do this, we cannot guarantee your story will be read. A single sentence is sufficient. This is not necessary for our annual, genre specific anthologies (Gaia and Typhon).
NOTE: Please read the entire page before emailing questions. Make sure your submissions are up to the submission guidelines listed on this page. If submissions do not follow these guidelines, it is not guaranteed that they will be read.
Please make sure files follow these important guidelines:
- Double Spaced
- Font: Courier or Times New Roman
- Author Name & Email included
- Word Count
- DO NOT Paste into Cover Letter box
- Number Pages
Pantheon Magazine is interested in fresh, creative, and powerful fiction that grips us and doesn’t let us go. We like it quick and concise, dammit. Longer work is also considered, but brevity is appreciated. We have short attention spans. We’re looking for fiction that is inspired by the god or goddess in our OPEN PROMPTS page.
VERY IMPORTANT: Please include a note as to how your story is inspired or relates to the theme/prompt you are submitting to. If you do not do this, we cannot guarantee your story will be read. A single sentence is sufficient.
Please make sure your work is thoroughly edited. Have someone who doesn’t like you very much read your story, then send it to us. Poorly edited work will not likely make the cut.
PAY & RIGHTS:
Fiction: Pantheon Magazine pays 1 cent per word for unpublished fiction starting with June 1st submissions. However, at the moment, we pay nada (<-this means nothing) for unsolicited reprints.
Poetry: We pay a flat $5 for poetry.
Cover Artwork: $100 per cover.
In addition, each contributor will receive electronic copies (Mobi, Epub, PDF) of the issue their work will appear in, as well as discounts off the print issue.
Unfortunately, we can only pay via Paypal.
Payment upon publication will be the norm, but can be much sooner.
RIGHTS: We are asking for print and electronic rights, which revert back to you three months after publication. We also ask for the right to archive your work on our website.
Via: Pantheon Magazine.
Deadline: September 30th, 2014
Payment: AUD2c/word and one contributor copy
“Werewolves are much more common animals than you might think.”
— Daniel Pinkwater
In the blackest night or under the full moon, danger is lurking.
It’s survival at all costs when you’re fighting against an enemy that could tear you apart – or convert you to the other side.
Against the backdrop of an untamed wilderness or the dark depths of the city, the ultimate clash between the forces of man and nature rage on.
You could be battling the monster within or a war around you – where the cost could prove too great.
Whether it’s personal survival or submission of the pack, we want it all. Bring on the blood, guts and gore.
We want military combat: guns and ammo, tooth and claw.
Suspense. Tension. Conflict.
Whether the wolves are fighting with you or against you is your choice…
~ ~ ~
We STRONGLY suggest you read the first SNAFU volume to see what it is we like.
SNAFU – http://www.amazon.com/dp/B00LNXHLJG
~ ~ ~
SNAFU: Wolves at the Door will be an anthology of short stories on the theme of werewolf-based military horror.
*Payment: AUD2c/word and one contributor copy
*SNAFU: Wolves at the Door will be released as an ebook only
*Wordcount range: 2,000 – 6,000 words
*Submission window: 1st September, 2014 – 30th September, 2014 (anything submitted outside of this window will be deleted without being read)
*Projected publication date: Last Quarter 2014
Please follow these guidelines when submitting to us:
1. Please put your full contact details on the first page of the manuscript top left, with word count top right.
2. Standard submission format, with minimal document formatting.
3. Courier or Times New Roman set at 12pt. Italics as they will appear. No underlining.
4. Double spaced.
5. Please don’t use TAB or space bar to indent lines. Use ‘styles’ only. If unsure or using a program that has no styles, do not indent at all. That’s still cool.
7. NO SPACE between paragraphs unless a line-break is required. ONE SPACE after full stops.
8. Please put full contact details on the first page of the manuscript (yes, I said this twice… it’s important).
9. Send your submission to Geoff Brown at editor@ as an attachment.
10. In the subject line of your email, please put WEREWOLVES: [STORY TITLE]
(Replace [STORY TITLE] with your actual story title. Yes, unfortunately we do need to state this)
NO MULTIPLE SUBMISSIONS
NO SIMULTANEOUS SUBMISSIONS
For a guide to standard submission format, see: http://www.shunn.net/format/story.html
The only variation to this format is that italics MUST appear as they will be used; no underlining.
Anyone that fails to follow these guidelines will likely see their story gobbled up by spam gremlins.
Good luck, and good hunting…
Via: Cohesion Press.
There are many factors to consider when composing a concise story with ample depth. Choosing the right words during the writing process and cutting the fat when editing are certainly key, no doubt, but to really interweave a descriptive, multilayered story, an author must construct subtle references and allusions within the story itself.
Just as a comedian will reference an earlier punchline (called a “call-back”) for an unexpected laugh, the writer must use metaphors, motifs, and other word clues to reference different elements of a story. A well-spun metaphor can subtly foreshadow upcoming conflicts or call back prior story points so that, when a story is reread, the reader is then able to pick up on these hints and, more often than not, has an enjoyable experience putting together the pieces that had previously been hidden.
In this way, the writer can construct a story that, on its basic level, is enjoyable. With some well-placed references and allusions, however, the story can be enriched with hidden depth that opens into an entire network of secrets that were there all along. The author is giving the reader the option of diving in if they want to commit the time. If not, well, there’s always a great story to be read regardless of its depth, right?
As an example of this relativity, say I’m writing a ghost story about a family who sunk their last dime into a farmhouse that they later find to be haunted (original, right?). The twist ending is that the family died in a nasty car wreck on moving day. We can plant subtle hints to this ending with a variety of word choices and metaphoric descriptions. Perhaps when the family pulls up to the house with the moving truck, we describe the scene thusly:
The kids, Todd and Emily, were the first out of the moving truck after their father had killed the engine. They barely glanced up at the wide windows as they sprinted to the front door, both determined to get the bedroom in the attic. As they went, Michael and his wife, Alice, stepped out into the smell of the harvest that seemed to pervade the entire county. The aroma was hearty and made them forget the troubles they’d left behind in Kansas City.
“This is where we start our new life,” Michael said. Alice flashed him her youthful grin before turning to their new house, both of them wondering just where their kids had gone.
Michael’s declaration, of course, is ironic considering they’re all dead by then, but the reader doesn’t know that because we haven’t really given anything away. We were dropping subtle hints. When the story is reread, however, the reader might pick up on the phrase “their father had killed the engine” or “start our new life” and think “Oh! I see what you did there!” And, really, the entire story will prove itself to be the family “forgetting the troubles they’d left behind” because, in essence, they’ve forgotten their troublesome deaths until the story comes full circle and they make their discovery.
See? Readers love those little nods and using such referencing proves how well an author truly knows his or her story.
In this vain, metaphors, similes, and other like modes of descriptions should relate to the story in some way. If a writer used “the man was a mountain” in a medieval story about a rebellious clan of knights, there should probably be a reason otherwise the description seems out of place. Is there an important mountain range in the story? Is the element of earth featured? Was the man a miner in his past life? Every description should be relevant and relative and, most of all, subtle.
For the most part, try to give your readers doors instead of keys. After all, even before a door is opened, a peek can be taken through its keyhole.
The Differences Between Writing A Novel Vs A Short Story
By Thomas M. Malafarina
Often people ask which I like best, writing a complete novel or writing a short story. The answer I give is always a resounding albeit annoying “yes”. I enjoy both equally and write both not only regularly but also simultaneously.
At any point in time, you will find me working on a novel (or two). And, while doing so I find myself often needing a break to give myself a chance to step back and reexamine the progress of the work. I’ve found the best way to do that; and to keep from becoming bored or frustrated with the rigors of novel writing, is to write short stories. It is also a great way to avoid the dreaded “writer’s block.”
There is an additional benefit in doing this in that I usually write enough short stories during the course of writing a novel to come out with a nice short story collection in between novels. The result is a progression in my books releases, which over the past five years has been a novel, followed by a short story collection, followed by a novel and so on.
There are significant differences between writing a novel and a short story however. The most obvious difference is size or word count. Another is the amount of time it takes to write one verses the other. For me, a critical distinction between the two is character development, scene description/scene painting and story-line/plot development.
In a short story, time is tight and therefore so must be the writing. There is little time for background and character development. In as few words as possible, you have to paint a picture of the pertinent characters so the reader can see them clearly in their minds. I suspect this may be why a sometimes characters in short stories tend to be stereotypical such as a bully, a wimp, a trashy woman a hard-nosed gumshoe detective and so on. It is the quickest way to get from point A to point B. If your character has easily recognizable traits it saves a lot of time and space.
Likewise, short stories don’t have the luxury of complex story lines such as various characters having interacted during past relationships; at least not in any detail. Nor can a variety of seemingly unrelated characters have their own individual stories, which slowly merge to some distinct point in the future of the work, as you can do with a novel. In addition, it’s difficult to paint scenes in detail within the confines of a short story. As with the other factors you have to show the reader what you need him to see quickly and stick to the story. You have to keep things constantly moving.
In a novel, you can go into as much history and back story for character as well as story development as you feel necessary providing you don’t put your reader to sleep. You can also paint a detailed scene for the reader to enjoy and you can have several apparently unrelated stories all coming together at some point later in the novel. There is a lot more room for fluff in a novel than in a short story, which can also pose a danger in terms of creating boredom. By the way, a good exercise in writing tightly is to do some flash fiction. In such a work, you generally have to tell the entire story in five hundred words or less.
One might argue that almost any short story has the ability to eventually become a novel. This may or may not be true. Although there might be some merit to this belief, the question, which I would ask is should it be? Just because something can be done, doesn’t mean it should be done. That is to say unless there really is enough of a story for a novel. It always comes down to the story for me.
Here’s an example that comes to mind. Anyone who knows me is aware that I often note the parallels between the film industry and story writing. That is largely because when I am writing a story, I am seeing a movie played out in my mind. As an avid movie fan, I know the importance of painting a scene, providing a good story and holding the audience’s interest. One thing I have seen often in the film industry is how producers will take a single concept and will pull and twist it eventually forcing it into a full-length movie. Force is the operative word here.
More often than not the original concept is too weak to merit such an expansion and the result can feel forced and ends up being boring. This is a major mistake, which I see occurring far too often. How many times have you sat through a ninety minute or two-hour movie and complained that it should have been about ten minutes long? Conversely, how often have you seen a two-hour movie that flew by so fast the two hours didn’t seem long enough? My guess would be more often than not the first scenario is the most common.
The same principal applies to short stories verses novels. We live in a very fast-paced world. This can sometimes be a challenge for me in novel writing. People want the quick-hit, the fast zingers, the thrills and chills but all within a short amount of time. This works fairly well in short story writing but can be a major impairment in writing a novel. The challenge for the author is to hold the reader’s attention while still being able to tell his story in the way he chooses.
Personally, I am from the old school of thought where a novel is to be something to be savored, something to help the reader relax and which will take him away to a world separate and much different from the one in which he lives. For people like me, reading a novel is not a chore, it is a form of relaxation and escapism much like a good movie. (There’s that movie parallel again). But for many of the younger generation who have been raised on a diet of video games, fast-paced movies and the like, this concept may seem a bit foreign. For these folks, the short story or flash fiction is more to their liking. I’m not saying one school of thought is right and the other is wrong; it’s just the reality. As I often say, “You can choose to believe in gravity or not but if you jump off the top of a tall building you’re still a dead man.”
So for me there lies the challenge. When writing a short story I need to constantly find ways to provide enough background and color while telling the story and entertaining the reader. In novel writing, while providing character development, back stories and scene painting I need to constantly find ways to keep the reader entertained and turning pages. When interviewed I have often stated that the greatest gift a reader can give to an author is not the money he has spent for the book, but the time he is investing in actually reading the story.
About Thomas M. Malafarina
Thomas M. Malafarina (www.ThomasMMalafarina.com) is an author of horror fiction from Berks County, Pennsylvania. To date he has published five horror novels “Ninety-Nine Souls”, “Burn Phone”, “Eye Contact” , “Fallen Stones” and “Dead Kill – Book 1 – The Ridge of Death”, as well as five collections of horror short stories; “Thirteen Nasty Endings”, “Gallery Of Horror”, “Malafarina Maleficarum Vol. 1”, Malafarina Maleficarum Vol. 2”, “Ghost Shadows” and most recently “Undead Living”. He has also published a book of often strange single panel cartoons called “Yes I Smelled It Too; Cartoons For The Slightly Off Center”. All of his books have been published through Sunbury Press.(www.Sunburypress.com).
In addition, many of Thomas’s works have appeared in dozens of short story Anthologies and e-magazines. Some have also been produced and presented for internet podcasts as well. Thomas is best known for the twists and surprises in his stories and his descriptive often gory passages have given him the reputation of being one who paints with words. Thomas is also an artist, musician, singer and songwriter.
Sunbury Press Web: http://www.sunburypressstore.com/Thomas-M-Malafarina_c52.htm?page=all
Writing In Theory and Practice: Write to be Read
by Bob Freeman
You know the mantra — writers write. If you’re in the game at all then you know the whole ass-in-chair incantation by heart. Thing is, there’s more to just knocking out words on a keyboard. It’s one thing to write the words, it’s another to sell them.
I’m working under the general assumption that you are writing to be read. There’s more to it than that though. It’s not enough to be read. If that’s all you’re after, pass your stories around to your friends and be done with it. No, what you want is to be read, to build an audience, to have your words touch people, and to be paid for your efforts.
Before you can build an audience you have to define who you are as a writer.
That’s the hardest part of the game, really — finding your unique voice and having something to say.
But once you’ve got that down, once you know who and why you are, then it’s a matter of staying true to that voice and vision and start submitting your stories to each and every paying market that’s out there.
Sure, there’ll be more rejections than acceptances, but that’s the nature of the beast — it’s in the fine print of the job description.
Just stick to the game plan. Be you, and always you, when you write and submit. Prowl Duotrope and Ralan for opportunities, network on twitter and Facebook and wherever else. Keep your ear to the ground, ferret out anthologies and magazine markets… anywhere and everywhere that takes stories… and then feed them yours.
Feed them yours.
Whether you write about monsters, or occult detectives, or cat loving sleuths, or one-eyed llamas with a crack habit, it doesn’t bloody matter. Find a paying market. Write what you’re passionate about (but within the context of what the market’s looking for), and submit.
Get your work out there. Always be true to yourself and your voice. And build your audience.
If you write it they will come.
Author: Bob Freeman
Featured Book: Shadows Over Somerset
About Bob Freeman: Bob Freeman doesn’t just write and draw occult detectives, he’s also a card carrying paranormal adventurer who founded Nightstalkers of Indiana in 1983.
A lifelong student of witchcraft, magic, and religion, Bob’s studies are reflected in his art, both as an author and illustrator.
Bob lives in rural Indiana with his wife Kim and son Connor.
He can be found online at occultdetective.com
Shadows Over Somerset Book Synopsis: Michael Somers is brought to Cairnwood, an isolated manor in rural Indiana, to sit at the deathbed of a grandfather he never knew existed. He soon finds himself drawn into a strange and esoteric world filled with werewolves, vampires, witches… and a family curse that dates back to fourteenth century Scotland.
In the sleepy little town of Somerset, an ancient evil awakens, hungering for blood and vengeance… and if Michael is to survive he must face his inner demons and embrace his family’s dark past.
Shadows Over Somerset is the first Cairnwood Manor Novel.
Tour Schedule and Activities
8/25 Jess Resides Here Interview
8/25 I Smell Sheep Interview
8/25 Beauty in Ruins Guest Post
8/25 Shells Interviews Guest Post
8/26 The Cabin Goddess Review
8/26 Kentucky Geek Girl Top Ten List
8/26 The Official Writing Blog of Deedee Davies Top Ten List
8/27 Stuart Conover’s Author Page Interview
8/27 Blog of Sheila Deeth Post on Art
8/27 Deal Sharing Aunt Top Tens List
8/28 Horror Delve Top Tens List
8/28 SBM Book Obsession Guest Post
8/28 Armand Rosamilia, Horror Author Guest Post
8/28 Willow’s Author Love Top Tens List
8/29 Bookishly Me Review
8/29 The Rage Circus Vs. The Soulless Void Interview
8/29 Azure Dwarf Guest Post
8/29 Vampires, Witches, and me, oh my Guest Post
8/30 Sapphyria’s Book Reviews Top Tens List
8/30 Bee’s Knees Reviews Review
8/30 A Haunted Head Interview
8/31 Horror Tree Guest Post
8/31 The Rage Circus Vs. The Soulless Void Review
8/31 Seers, Seraphs, Immortals and more! Interview
Amazon Links for Shadows Over Somerset:
It’s no secret that readers LOVE series’. A standalone is all fine and good, but nothing makes me happier as a reader to be able to follow characters from book to book. It’s like catching up with old friends, and there’s comfort in the knowledge that even when one book ends, the story isn’t really over. There will be another book, and maybe another, and your love affair with the fictional people you care about can last just a little bit longer.
As a writer, I love series’ just as much because I invest so much time and care into my characters that it’s difficult for me to say good-bye to them as well. On the flip side, writing a series is a time consuming process that takes a lot of forethought and planning … two things I’ll admit I’m not always good at. As a pantser (for those who don’t know a pantser is a writer who literally writes by the seat of their pants and just lets things happen), I tend to be impulsive. I’ll often start the first book in a series without giving any thought to what the goal is by the end of the last book. I know some of my friends who are plotters (people who outline everything before writing) are cringing as they read this, but we all have our process. I envy people who can plot because they seem to have their stuff together. Meanwhile, I’m chasing wayward characters across the pages and trying to make them behave. Sometimes, though, they like to do their own thing. Of course, every action causes a reaction, which means there are consequences.
However, for me, that’s the fun part. Being a person who doesn’t plot or plan means I can let the characters have their say and do what feels true to them. In that way, I find myself writing toward an ending I never saw coming … and as I always say, if I don’t see it coming, neither will the readers. It’s why, I think, I’ve been able to create so many huge, twisty moments in the Bionics Series; because I don’t allow myself to be confined to a set plotline or idea.
Yes, writing a series does take some planning. There is a basic framework that includes setting (where does your story take place?), characters (who’s in the story), how many books will there be in your series (sometimes this can change, especially if you’re flexible and don’t try to cram too much into one book or stretch them out into too many). All of these things are important, but the awesome thing about fiction is that there are no rules other than the ones you set … and as the author you reserve the right to change them at will. When you look at it that way … well, the possibilities for development are literally endless.
THE BIONICS SERIES by Alicia Michaels
SPARK (Book 4)
(New Adult or YA Mature)
(New Adult or YA Mature)
EXCERPT FROM THE BIONICS:
About Alicia Michaels:
Ever since she first read books like Chronicles of Narnia or Goosebumps, Alicia has been a lover of mind-bending fiction. Wherever imagination takes her, she is more than happy to call that place her home. The mother of two and wife to an Army sergeant loves chocolate, coffee, and of course good books. When not writing, you can usually find her with her nose in a book, shopping for shoes and fabulous jewelry, or spending time with her loving family.
Deadline: December 31, 2014
Payment: $200, one copy each of the ebook formats, two copies of the paperback compilation.
Villains, Inc. — An Anthology Call — Tired of goody-two-shoes? Why should those “glowing heroes of good” get all the glory? Villains! They can be antiheroes, misunderstood, or just people who love to cause chaos for the sheer madness of it all. LT3 is seeking stories where the focus is, for once, on the baddies. The badder the better!
Please note, Less than Three has a strong policy against stories with themes of non-consent.
- Deadline is December 31, 2014 (give or take, we won’t kill you for sending it off the following morning).
- Stories should be at least 10,000 words and should not exceed approx 20,000 words in length.
- Stories may be any pairing except cisgender M/F (trans* M/F, M/M, F/F, poly, and all permutations thereof are acceptable).
- Stories must have a happily ever after (HEA) or happy for now (HFN) end.
- Any sub-genre is gladly accepted: sci-fi, mystery, contemporary, steampunk, etc.
- All usual LT3 submission guidelines apply.
Villains, Inc. is a general release anthology, meaning stories will be sold as a compiled ebook in the LT3 book market. Payment will be $200 on acceptance of the story. Authors will receive one copy each of the ebook formats LT3 produces and two copies of the paperback compilation.
Stories should be complete before submitting, and as edited as possible. They can be submitted in any format (doc, docx, rtf, odt, etc) preferably single spaced in an easy to read font (Times, Calibri, Arial) with no special formatting (no elaborate section separation, special fonts, etc). Additional formatting guidelines can be found here.
IMPORTANT: This anthology is being coordinated and edited by one of LT3′s senior editors, Tan-ni Fan. To submit, please send your manuscript to email@example.com. Include the following in your email:
- Put SUBMISSIONS in the subject line! Emails without this subject line run the risk of not being seen or read, so please, do not forget this!
- Your real name, pen name (if you use one), and preferred email address.
- The approximate total length of the completed story.
- A brief summary of the story, not to exceed approximately 200 words in length.
- Attach the complete manuscript in .doc, .docx, or .odt format.
Payment: One US cent per word for prose, or 2.5 US cents per word of poetry, a digital copy of the publication and if physical copies are produced, a physical as well
FLAPPERHOUSE is quite eager to read your submissions. At this very moment, we’re in the darkest, quietest corner of the FLAPPERHOUSE attic, hunched in the glow of our laptops, giggling like maniacal dolphins, waiting to see what nubile pieces of literature will fall into our slobbering jaws.
FLAPPERHOUSE wants to publish lit that’s surreal, shadowy, sensual, and/or satirical. For examples, you can check out excerpts from either of our Spring 2014 Issue or our Summer 2014 Issue. You can also read this interview or read that interview or just keep clicking around our website.
Please send all submissions to FLAPPERHOUSE at gmail dot com
FLASH / SHORT FICTION: Up to 5,000 words. We’ll consider excerpts from longer works if they’re fairly self-contained; for now, we’re not looking to cliff-hang readers or publish novellas on the installment plan.
POETRY: Up to 1,000 words.
NON-FICTION / ESSAYS / REVIEWS: Up to 2,500 words. Keep in mind that FLAPPERHOUSEwill be published once per season, so we’re not interested in non-fiction that’ll feel dated in three months.
COMICS / ARTWORK: Query us at FLAPPERHOUSE at gmail dot com
FLAPPERHOUSE will only sacrifice virgin literature upon our fiery altar. That is, previously unpublished work only. (If an earlier draft was posted in some private online forum to be squished through the meat-grinder of constructive critique, then that’s all right.) We won’t ask you to sign any contracts, but we will ask you to promise, while looking us in our big brown eyes and firmly shaking our soft furry hands, that your work won’t appear anywhere else before we publish it, and if it’s reprinted somewhere else later on, that you’ll kindly mention there that FLAPPERHOUSE had it first. If you break this promise, we won’t sue you or anything, but we might tell everyone we know how lame you were that time you broke your promise to us. We also know of several extremely icky hexes, and we’re not afraid to try and see if they actually work.
One submission at a time, please. Simultaneous submissions are OK, because we think that refusing simultaneous submissions is like demanding monogamy before the first date. We get why some people need to roll like that, but that’s not our trip. We’re FLAPPERS, baby. All we ask is that if your submission’s out playing the field, be cool and let us know if it’s picked up elsewhere.
PAYMENT: If we accept your work we’d like to pay you (via PayPal or check) upon publication. One US cent per word for prose, or 2.5 US cents per word of poetry. (Not because we think poets work harder choosing their words, or that they choose better words. It’s simply a matter of proof: We prefer our prose like wine and our poetry like absinthe.) As a contributor you’d also get a digital (PDF) copy of the issue your work appears in. We may publish a limited number of print issues, if funding allows, and if so we’ll be happy to send you a paper copy too.
FORMATTING: We don’t need standard manuscript format, as long as you don’t go all House Of Leaves on us. (We love House Of Leaves, but we don’t need any House Of Leaves emulators fucking with our dimensions right now.) We prefer .doc files, but as long as it’s readable by Microsoft Word 2010, we won’t be mad at it. If you want to just paste the text into an email, that’s OK too.
COVER LETTERS: We’d love to see a brief note including your name, plus the title & genre (i.e. fiction/poetry/essay) of your submission, so we’ll know you’re a human being, or at least a highly-intelligent cyborg. We won’t ask for a bio until we’re sure we’d like to publish your work, but feel free to include a bio with your submission anyway.
RESPONSE TIME: We hope to respond within 42 days, but of course, life is full of nutty surprises. If we take longer than 77 days, feel free to jab us under the ribs with a follow-up email.
We reply to each submission with an initial confirmation email, which should arrive anywhere from a few seconds to a few hours after the submission is sent. If you don’t receive confirmation from us within 24 hours, we may just be off the grid for a few days. If you don’t receive confirmation after two weeks (which is probably as long as we could bear to stay off the grid), that probably means we never received your submission, or we misplaced it, so feel free to send it again. If you still don’t get confirmation from us after that, double-check to make sure you didn’t email your submission to Fapperhouse, or Lapperhouse, or Flapperhose.
Payment: Short Stories – $75.00 or 2 full page ads in Pithy Pages (a $200.00 value), Flash Stories – $25.00 or 1 full page ad in the same issue of Pithy Pages (a $100.00 value)
We want to read your work and view your art. We believe that there are many wonderful writers, poets, and artists who have written or produced marvelous and insightful pieces who need to be published and we want to be your publisher.
What are you waiting for? Submit your work today!
Short Stories & Flash Stories
- Short Stories must be fiction of 3000-5000 words (will accept up to 6500, but note our maximum payment of $75.00)
- Flash Stories must be fiction of 400-1000 words (may accept a few more if relevant to story, but note our maximum payment of $25.00).
- All stories must have a well developed plot and character(s) and be a pleasure to read.
- All stories must use proper grammar and form unless to do otherwise is endemic to the story or characters.
- Most Genres are accepted (see “About Us” page), however we do not accept stories with political or religious agendas; erotic stories, stories with an excess of gore, blood, etc.; stories containing gratuitous sex, profanity, or violence; or stories that are overdone or boring.
- We are looking for stories that will make you think, cry, ponder, laugh, renew your subscription and recommend Pithy Pages for Erudite Readers? to friends, acquaintances, and the stranger on the bus.
- You may submit up to three (3) poems, but they must fit on no more than 2 pages (so keep it pithy – optimally, no more than 300 words!)
- Poems may be in any poetic form, but must easily translate to the electronic page without any manipulation. Therefore, most shaped poems (in the shape of a T-Rex or this morning’s cereal) will not be accepted. Free verse will be accepted, but it must be in poetic form and read, feel, and act like a poem. Bad prose when put in poetic form is still bad prose.
Art & Photography
- All art or photography must have enough pixels to be clear and beautiful on the digital page.
- Please no oversized or panoramic works … they just cannot be seen in the format we present.
- Each artist may submit one (1) or two (2) pieces. If accepted, only one will appear on the cover.
- All work must be the original work of the author or artist and must be unpublished in any form, including self-publishing.
- Simultaneous submissions will be accepted, but if your work is selected by another publication you must immediately contact us.
- Reading your work takes 4 to 8 weeks (please don’t contact us until 8 weeks have elapsed). We generally do not explain rejections – our editors didn’t like your story, poem, or art, for a variety of reasons or there were others that they thought were better. Please carefully proofread your work before submitting. Poor writing and grammar will garner a quick rejection. We do not explain rejections.
- Published works: Dragon & Owl Publishing will have exclusive first publishing rights in Pithy Pages For Erudite Readers and non-exclusive rights to use the accepted work in compendiums, compilations, “best of” annuals, etc. (see sample agreement for details).
- Short Stories – $75.00 or 2 full page ads in Pithy Pages (a $200.00 value)
- Flash Stories – $25.00 or 1 full page ad in the same issue of Pithy Pages (a $100.00 value)
- Poems – $15.00 or 1/2 page ad in the same issue of Pithy Pages (a $60.00 value)
- Art (cover) – $15.00 or 1/2 page ad in the same issue of Pithy Pages (a $60.00 value)
- Monetary payments will be made within 5 days following publication date
- An author published in Pithy Pages may receive 1/2 off on any ad for 1 year after his/her work appears. Simply contact the publisher for your discount.
- All submitters also receive a FREE subscription to the magazine
- A sample contract is available for the curious
Via: Pithy Pages.
Deadline: November 1st, 2014
Payment: $30 and two copies of the published book upon publication
Payment & Rights: $30 and two copies of the published book upon publication. Contributors retain the rights to their work.
Editor: Ily Goyanes
Publisher: Liz McMullen Show Publications
Previously unpublished work only
Desired length is 3,000 – 4,000 words (exceptions made for exceptional work)
Multiple submissions okay, simultaneous submissions not okay
Use a standard font such as Times New Roman – no funny business
Size does matter – 12 pt. is perfect
Double-space, por favor
Include your contact information in both the document and body of the email
If you’re on the down low, include your pseudonym in your contact information
Send your submission to firstname.lastname@example.org as an attachment in Word format (.doc). In the subject line, include ‘appetite antho,’ the title of your story, and your last name. Subject line should look like this: Appetite antho/Hungry Like a Wolf/Gonzalez. If you have any questions, please direct them towards the same email address.
Hard deadline is November 1, 2014, but the sooner you submit, the better you’ll feel.
If you have not received a response by January 1, please feel free to query me at the email address above.
Editor: Ily Goyanes is a widely-published and award-winning author, editor, and journalist. Girls Who Score: Hot Lesbian Erotica, a Lambda Literary Award finalist, was Goyanes’ first full-length anthology and won a Golden Crown Literary Society Award in 2013. She has also served as a judge for the Lambda Literary Awards and as a mentor for the GCLS writers’ program. Tweet her @realily.