Taking Submissions: Real American Horror

Deadline: royalties 60% divided amongst authors evenly.
Payment: September 11th, 2017

We’re looking for short stories no more than 5k that reflect real stories and urban legends found in America. No reprints.

Payment: royalties 60% divided amongst authors evenly.

We’re also looking for raw real stories of America’s underworld, real stories from real people that are going through real life horrors. For example, stories of suffering from addiction, living in the slums of Chicago, or life as victim of sex trafficking.

All names will be confidential, unless you state otherwise.

No payment at this time. Exposure and be in a magazine that reaches a wide audience and invitation to a podcast that reaches an even wider audience.

Real American Horror is a horror anthology designed to evoke strong emotions from readers as they look into stories of Real horror.

Deadline: September 11th

Send submissions to

[email protected]

With real American horror in subject, otherwise I’ll miss it.

Via: Deadman’s Tome.

Taking Submissions: If It Bleeds, It Leads!

Deadline: October 31st, 2017
Payment: $15USD

Extra! Extra! Read All About It!

Is this anthology looking for horror stories in the form of newspaper articles?
The answer: Yes, that’s exactly what we’re looking for!

For this anthology, we’re looking for stories that embody the spirit of the good ol’ newspaper headline! In fact, your story title MUST BE the headline.

We want feature pieces that belong on the front page; stories that draw you in and take hold of you as they unfold while the ink is still drying.

The work should exemplify the flashy style that only hot-off-the-press journalistic prose can entail. And if you want to go full-on tabloid, have at it. Give us the trash, give us the dirty laundry, but most of all, give us the juicy bits.

Remember, this is a horror collection, so be sure to keep one thing in mind: If it bleeds, it leads!

Deadline: October 31, 2017

Word Count: 2,500 – 5,000 words

All submissions MUST be submitted to: Submissions@SirensCallPublications.com

Reading & Evaluation Period: Two to three months after close of the deadline

** NO REPRINTS WILL BE CONSIDERED **

Payment: Each story selected for inclusion will receive a one-time payment of $15USD, an eBook contributor copy, and the right to purchase an unlimited number of print books at discount.

As per our standard guidelines, there will be no stories containing pedophilia, bestiality, or graphic rape scenarios accepted. For a full list of our guidelines, please visit our websitewww.SirensCallPublications.com.

Via: Sirens Call Publications.

Ongoing Submissions: Black Dandy

Payment: $0.03 (NZD) per word (.02 USD at time of posting.)

If you’ve ever finished reading a story and thought, “Well, that was unusual,” then you’re only a block away from Black Dandy. In this corner of the neighbourhood, we’re looking for fiction that grips readers with vivid characters under unusual pressures. Bizarre, dreamy, unsettling.

Although we like a slow burn, we want stories to intrigue us from the start. Set the tone early, even if the story’s unusual nature takes time to unfold. Magic realism, gothic, and surrealist are compass points. Perhaps your most compelling character is a place, a meadow, a stretch of road in the middle of nowhere. Or perhaps your characters believe that all is normal while the world around them spins out of control – how do they go about their affairs in such a world? Your story will leave us feeling jarred, shaken by the collision of the familiar and unfamiliar.

Fiction we can’t forget:

Nights in the Gardens of Spain, Witi Ihimaera
Rene’s Flesh, Virgilio Piñera
Already Dead, Denis Johnson
Mrs God, Peter Straub
Dandelion Wine, Ray Bradbury
Maldoror, Comte de Lautréamont
Shoeless Joe, W.P. Kinsella
Encounters, Juan Garcia Ponce
The Master & Margarita, Mikhail Bulgakov

Black Dandy pays $0.03 (NZD) per word for stories between 2,500 and 7,000 words. Our turnaround time for decisions is from one to three months.

Submit manuscripts to [email protected] in Word or RTF format, using some variation of a standard manuscript format. In the body of your email, tell us a bit about yourself.

We do not accept simultaneous or multiple submissions.

Author’s rights: Use of the author’s work by Black Dandy entails the assignment of First World Anthology Rights, for publication in the English language anywhere in the world. Black Dandy may use the author’s work only in the above-mentioned Anthology – both paperback and electronic editions – and re-printings of it, and the author shall retain all other rights to his or her work not specified here.

Via: Black Dandy.

Taking Submissions: The Fantasist

Deadline: August 25th, 2017
Payment: $100, on publication, and 10% of one’s own e-book sales

General submissions are open! The Fantasist is now considering work for Issue 5 and, potentially, Issue 6. Submissions will close on August 25th, 2017.

General Submission Guidelines:
1. Well-written. Prose craft matters a lot. And do your dialogue well (we read everything out loud).
2. Ideally 15,000 to 40,000 words, although, in exceptional circumstances, we may consider work that is somewhat longer.

Stuff we like:

We especially like stories set in a well-researched historical setting, set in the present or the future, stories with interaction between magic and science, the Napoleonic Era, Faeries, Dragons (but no dragon tragedy!), and stories not set in Europe. We love apprenticeship narratives/magical education, people coming together, stable romantic partnerships, nuanced friendships, remotely accurate economic and political systems, realistic depictions of power, magic that isn’t explained, highly systematized magic, made up plants, medical stuff combining magic and medicine, tall tales, pastorals, 2nd person, formal weirdness, real languages other than English (bonus points for Russian), constructed languages, intricate worldbuilding, interesting things with real or fictional religion (bonus points for Islamic characters), Speculative CNF, lyric essay, stories that engages with well-known texts, stories that deal with obscure or technical bodies of knowledge, epistemological fiction, epistolary fiction, fantasy inside virtual reality inside science fiction, surrealism, dark fantasy and horror, diagrams, psychology (but do your research), disabled people having sex, fake scholarship (Especially without seeing action in that world), trans and nonbinary characters in historical fantasy, technologically and/or historically accurate seafaring fiction, sex workers, domesticity, stories set in cities about something other than crime, the black-plague as apocalypse, the ridiculous backstabby internecine warfare of the faerie poetry community in Indianapolis, fantasy in small town America, addiction storylines, 12-step programs for magical things, socialism, communism, anarchism, part way into the high flung adventure, the hero buys a nice plot of land and settles down to raise magic sheep. YA is encouraged, but we are not primarily a YA market, and publish for all ages.

Special note: We are especially seeking more urban fantasy.

In addition to all of the above, following the Issue 4 Space Opera Issue, The Fantasist will also consider Space Opera.

Above all, we appreciate EARNESTNESS.

Some questions and thoughts to consider before submitting:
*Who builds the roads?
*If you can’t find room for a second female character, we’re concerned.
*Are you being the person Mr. (Steve) Rogers knew you could be?
*Did you Google it?
*Who are you? What do you want?
*Who is the milkman? What happened inside that house? Why did you set that bush on fire? What did the rainbow squirt tell you? What is the purpose of the goggles?
*Did anyone eat?
*Would the 10th Doctor want to take Rose here?
*Agriculture? Classism.

Basically, we’re open to anything that you’re willing to call fantasy, although faux-medieval fantasy can be a harder sell.

The Process
The Fantasist uses email submissions. Please send your novella to [email protected].
In the email, please include your name, email address, cover letter, story title, word count, genre, and story. Your cover letter should contain your publishing history (if any) and any other relevant information (e.g, if you send us a changeling story and happen to BE the great granddaughter of the Leanansídhe, mention that). All stories should be in standard manuscript format and can be submitted in .DOC, .DOCX, or PDF format. You will earn bonus points with Will if your story is saved at 135% magnification.

No multiple submissions, but simultaneous submissions are fine. Please notify us immediately if your piece is accepted elsewhere.

On reprints: A few people have asked, but we aren’t currently accepting unsolicited reprints. Currently, our priority is choosing material for our first few issues. We feel that it’s important to come out the gate with only new, previously unpublished work. However, our stance on this may change.

If you have questions, concerns or technical issues, please contact us via [email protected]. Our average response time is 6 months, but we occasionally hold submissions for longer. We ask that you don’t send queries until after 3 months have passed. Don’t argue with rejection letters. You’re only wasting time.

We buy first North American serial rights, non-exclusive anthology rights, exclusive electronic and e-book rights for 90 days after first publication, and non-exclusive electronic and e-book rights after that. Payment is $100, on publication, and 10% of one’s own e-book sales.

We’re a bit of a mom and pop. Actually, more of a pop and pop, and pops’ couple friends. We hope to pay more at some point, but $100 is what’s possible for us at the moment.

We wish this went without saying, but it does not: We aspire to publish excellent fiction across lines of race, income, religion, nationality, ethnicity, gender, sexual orientation, age, geography, and culture, and therefore encourage submissions of diverse stories from diverse authors. This includes, but is not limited to, people of color, QUILTBAG folks, women, writers who are working class, elderly, or disabled. We are especially interested in work that displays intersectionality with regard to the above, and we aim to read with a compassionate eye.

Announcing next year’s theme issue: Issue 8 – Steampunk! – With roots as far back as gothic horror and the earliest pulp mags, and yet other roots as recent as the cyberpunk of authors like William Gibson, Steampunk is arguably at once one of speculative fiction’s oldest and youngest subgenres. However, here at the Fantasist, we wonder: How can Steampunk be Fantasy? As a subgenre riddled with monsters, clockwork, and other borderline farcical technological accomplishments, we don’t imagine with much difficulty. Think airships, lamplight, and top hats. Try to think not England, or at least not Victorian London, if you can, but don’t worry yourself terribly over that either, as stories set in familiar settings can still be surprising and good. Consider works like Nisi Shawl’s Everfair, China Mieville’s Un Lun Dun, and Phillip Pullman’s novel, The Golden Compass.

We’re also honored and delighted to be able to announce that Megan O’Keefe will guest edit the Steampunk! Theme Issue. Megan was raised amongst journalists and, as soon as she was able, joined them by crafting a newsletter which chronicled the daily adventures of the local cat population. She has worked in both arts management and graphic design, and spends her free time tinkering with anything she can get her hands on. Megan lives in the Bay Area of California and makes soap for a living. It’s only a little like Fight Club. She is a first place winner in the Writers of the Future competition, and the author of The Scorched Continent series, available through Angry Robot Books.

Issue 8 will come out in September of 2018, and submissions for it are a long way off. We’re announcing the theme now because we know that novellas take a long time to write, and it’s easier to write to a theme when you know what it is.

Via: The Fantasist.

Taking Submissions: Fantastic Trains: An anthology of Phantasmagorical Engines and Rail Riders

Deadline: September 30th, 2017
Payment: $50 for stories up to 1,500 words, rising to a maximum of $150 for stories up to 5,000 words.

Does a train whistle in the distance make you excited, wistful, or afraid? Trains have fired the imaginations of many people, especially writers. Anna Karenina, Night on the Galactic Railroad, The Signal Man, Strangers on a Train, The Lady Vanishes, Murder on the Orient Express all use trains as their main setting, not to mention the trains in children’s books—like Thomas the Tank Engine, The Little Engine that Could, and The Polar Express.

As travelers, we’ve been spurred to go farther because of trains, see new things, take chances. Trains have also, sometimes, pushed us too far, sliced the wilderness, inserted us into places to draw out resources, assisted in invasion. Trains, in a sense, even created Time as we know it. Trains altered our perceptions of identity, place, even of destiny. Suddenly, people could travel far away quickly, leave their families and homes for a better life, or opportunity—or people could escape the destiny of location. Step on a train, and you never know what you might find, or with whom you might cross paths. In essence, trains are Change.

We’re looking for your stories of trains—fantasy, steampunk, science fiction, horror, slipstream, urban fantasy, apocalyptic, set in any time, any place,—we’ll buy a ticket on all of them. We’d like to see what you can do with a train. A good part of your story should take place on a train—or most, if you can do it. We don’t care what era, what planet, or how the train might look differently there (it might even be alive!) or even if the train is moving. We just want that train—what you do with it is your magic.

This book will be both for lovers of the fantastic, and train aficionados. Think about how trains change the lives of people who travel on them, or how trains are used. Think about those people who love them, and know so much about trains, and why as children we were amazed. We want good character stories. We also want to see that you’ve thought about how your train runs. Make us feel like we’re on it. Make it fantastic!

THE TWIST: The Locomotifs

We’re looking for an author to choose one or more archetypal minor characters from the following list and interpret them through the lens of their story (their time, place, genre, etc.) as purely background characters, or, if you want, a main or POV character.

They can be combined too into a composite type character. An author would not HAVE to choose more than one, but one of these must pass through your story. (You will need to mention who you’ve chosen on your submission, under your contact information, using the letter(s) appropriate.) These characters are not named, nor is there any requirement for nationality, gender, race, ability/disability, gender expression, etc. You are free to interpret.

Here are the ten we’d like you to consider:

  • A) The Schemers: a couple with a plan
  • B) The Dreamer: someone who speaks about, or gives value to, his/her dreams;
  • C) The Detective: a person trying to solve something—a riddle, a puzzle, a mystery;
  • D) The Reluctant: someone who doesn’t want to get on, or perhaps, leave the train;
  • E) The Adventurer: someone who believes they are on an adventure;
  • F) The Guide: a mentor, a knowledgeable person about place, trains, etc.
  • G) The Box: a mysterious piece of cargo with important implications to someone.
  • H) The Lovers: a couple at any stage of love
  • I) The Knight: someone who will fight for a cause, theirs, or one they are given
  • J) The Seeker: someone who doesn’t know, but who wants to learn

We think the recurring nature of these “locomotif” characters through the collection will have an effect on the reading brain. We think readers will create connections and stories of the minor characters between these very different stories; they will link them up like train cars. Readers will make connections and see arcs by the juxtaposition of stories. (Think Cloud Atlas.)

You are invited NOT to take them literally. The Detective probably shouldn’t be a detective, but someone who is trying to solve a puzzle, a personal mystery, with a detective’s sensibilities. (And damned if Murder on the Orient Express’ trailer didn’t just use a similar concept by introducing characters as “types”—ignore that. We’d love to be original, but archetypes are very very old, and they’re not necessarily job-oriented, as they are in that trailer. But Christie’s MotOE is a great example of a train story!) Also, do not think that you need to try to fit in all ten. That’s like trying to meet everyone riding on your train. You can do it, but it takes too much time away from you.

Authors, of course, are free to develop their story on their own—but they should allow one of these kinds of characters to board their train, even if for a fleeting reference.

If you have a “train trunk” story and can retcon one of these characters into it seamlessly, without it looking like a shoehorn, awesome. Ultimately, we’re looking for you to tell us a good story.

We invite you to take us on a journey.


Submissions will close September 30, 2017.


ABOUT THE EDITORS:

Jerome Stueart is the author of The Angels of Our Better Beasts, a collection of stories recently long-listed for the Sunburst Award. Jerome was also the co-editor of Wrestling With Gods (Tesseracts 18) and Imaginarium 4: The Best Canadian Speculative Literature. His work can be found in Fantasy, Lightspeed’s Queers Destroy Science Fiction, Tor.com, Strange Horizons, Icarus, Geist, Geez, and several Tesseracts anthologies. Jerome was the trolley conductor for the Whitehorse Waterfront Trolley for several summers when he lived in Whitehorse, Yukon. He now lives in Dayton, OH and teaches creative writing at the University of Dayton. [MORE]

Neil Enock is the author of two books, Doc Christmas and the Magic of Trains, and Mayan: Atlantis Returns, and the face and creator of the million-plus-views podcast TrainTalk.tv. He is past president of the Alberta Model Engineering Society. His love for trains is no secret to his thousands of train-loving fans. He is also active in the film industry as an actor, prop designer, producer and screenwriter. Recently, Neil has become the creator of the Wrist-Rack, a handmade leather gauntlet for carrying your cell phone on your wrist launched on Kickstarter and sold at Expos and Cons. Neil lives, creates, and fabricates with his family in Calgary, AB. [MORE]

SUBMISSION DETAILS:

 

  • We’re looking for your stories of trains—fantasy, steampunk, science fiction, horror, slipstream, urban fantasy, apocalyptic, set in any time, any place,—we’ll buy a ticket on all of them. We’d like to see what you can do with a train. A good part of your story should take place on a train—or most, if you can do it. We don’t care what era, what planet, or how the train might look differently there (it might even be alive!) or even if the train is moving. We just want that train—what you do with it is your magic.
  • The Fantastic Trains anthology will reflect as broad a spectrum of stories as possible; highlighting unique styles and manners.
  • Stories should contain a train in them. We don’t really believe you missed that one, but we’re just making sure. The whole story doesn’t have to be on the train, but a train should figure in the story. It can be moving, broken, stalled, a relic in a museum, or a prototype, even a toy train. But it needs to be there. Because people will buy this anthology because your story uses a train!
  • We are aiming towards two audiences, those who love speculative literature and people who love trains—remember that. Train aficionados are amazing people who love every detail about trains—the history, the specs, the technical parts. Capture that kind of love too if you can! Be accurate about trains, as much as fiction can be.
  • Stories must contain one of the “locomotif” minor characters as a walk on, or used however you want to use them. You should indicate the letters (A,B,C, etc) of the locomotifs you’re using below your contact information on the first page of the submission story itself.
  • Submissions must be speculative fiction: science fiction, fantasy, dark fantasy, magic realism, slipstream, supernatural horror, modern fantasy, fantasy noir, weird tales, alternate history, space opera, planetary adventure, surrealism, superheroes, mythic fantasy, etc.
  • Submissions should be short fiction.
  • The maximum length for stories is 5,000 words, with shorter works preferred.
  • The Fantastic Trains anthology is open to submissions from everyone, from every country, and we specifically encourage historically-underrepresented groups, of any race, gender or gender expression, LGBT, class, or ability.
  • Authors who write in languages other than English are welcome to submit an English translation of their work, provided it otherwise falls within the parameters of this anthology. Translation into English is the sole responsibility of the author. Please supply details of original publication for any submission that originally appeared in a language other than English.
  • Deadline: September 30, 2017 (midnight EST).
  • Do not query before submitting.
  • Email submissions to: [email protected]
  • Emails MUST contain the word “submission” in the subject line, or they will be deleted automatically by the server. Please also include the story title in the subject line.
  • Submissions MUST come in an attachment: only .RTF and/or .DOC formats are acceptable.
  • Emails MUST contain a cover letter in the body of the email; for security reasons, email attachments with no cover letter will be deleted unread and unanswered.
  • Cover letter: include your name, the title of your story, your full contact information (address, phone, email), and a brief bio. Also include the locomotif(s) you are using.
  • Do not describe or summarize the story.
  • Reprints (stories having previously appeared in English in any format, print or electronic, including but not limited to any form of web publication) will not be considered.
  • Submission format: no strange formatting, color fonts, changing fonts, borders, backgrounds, etc. Leave italics in italics, NOT underlined. Put your full contact information on the first page (name, address, email address, phone). No headers, no footers, no page numbering. DO NOT leave a blank line between paragraphs. Indent paragraphs. ALWAYS put a # to indicate scene breaks (a blank line is NOT enough).
  • ALWAYS include your full contact information (name/address/email/phone number) on the first page of the attached submission.
  • Payment for short stories is prorated as follows: $50 for stories up to 1,500 words, rising to a maximum of $150 for stories up to 5,000 words.
  • Rights: for original fiction, first World English publication, with a two-month exclusive from publication date; for all, non-exclusive anthology rights; all other rights remain with the author.
  • Spelling: please use standard American English spelling.
  • Response time: initial responses (no / rewrite request / hold for further consideration) will be prompt, usually within fifteen days. Please query if you’ve not heard back within 30 days. Final responses no later than 15 December 2017.
  • Submit only one story. Multiple submissions will not be accepted.
  • Simultaneous submissions will not be accepted.
  • Publication: May (e-book) and Sept/Oct for trade paperback.
  • Email submissions to: [email protected]

Other Train books/movies of the fantastic to consider:

  • China Mieville’s Iron Council
  • Stefan Grabinski’s The Motion Demon (collection of train stories)
  • Snowpiercer (a movie based off the French Graphic Novel Le Transperceneige by Lob, Legrand, Rochette)
  • Source Code (Jake Gyllenhal on a speeding train locked in a loop in time)
  • Darjeeling Limited (a comedy/drama based on character on a train—though not fantastic, still awesome)

Via: Edge.

Taking Submissions: Spider Magazine: Spaceships and Superheroes

Deadline: August 31st, 2017
Payment: Up to 25¢ per word

SPIDER, a literary magazine for children, features fresh and engaging literature, poems, articles, and activities for newly independent readers. Editors seek energetic, beautifully crafted submissions with strong “kid appeal” (an elusive yet recognizable quality, often tied to high-interest elements such as humor, adventure, and suspense).
We have particular interests in stories that explore themes of identity (gender, race and ethnicity, neighborhoods, beliefs and traditions); citizenship and global cultures; scientific and technological exploration; and the creative spirit.

SPIDER (for ages 6-9) is looking for fiction, poetry, activities, crafts, and recipes for the theme Spaceships and Superheroes. We’re interested in science-fiction and superhero stories about protagonists that save the day with help from super suits, super powers, or self-made gadgets. We’re especially interested in future technology like flying cars, interplanetary travel, holograms, robots, and teleporters. Take us on a time traveling mission or to the heart of a city that could use some saving. Especially welcome: twists on familiar comic book or sci-fi tropes, and female, people of color, and kid protagonists.

Guidelines

Before submitting, be sure to familiarize yourself with our magazines. (Sample copies are available for viewing at the Cricket Media Store, or you can order a current issue by calling 800-821-0115.)  Issues are also available at many local libraries.

 

Fiction

Whether a fictional setting is long-ago or here-and-now, or the protagonist is the class clown or a talking tiger, characters and the worlds they inhabit should be complex and believable.

Length: 300–1000 words

 

Poetry

Poems should be succinct, imaginative, and accessible; we tend to avoid long narrative poems.

Length: Up to 20 lines

 

Nonfiction

For nonfiction, SPIDER readers enjoy well-researched articles about animals, kids their own age doing amazing things, and cool scientific discoveries (such as wetsuits for penguins and real-life invisibility cloaks). Nonfiction articles should rise above a simple list of facts; we look for kid-friendly nonfiction shaped into an engaging narrative.

Length: 300–800 words

 

Crafts and Activities

We also appreciate clever crafts, recipes, games, and puzzles; however, please submit only activities that a reader would be able to perform on his/her own, with minimal parental assistance.

Length: 1–4 pages

 

Procedure

  • We only accept online submissions, and the Submittable page you’re currently on is the only place we accept them. We do not accept hard-copy submissions or email submissions. Submittable accepts international submissions.
  • Please do not email submissions to editors or Customer Service.

Cricket Media’s literary magazines (BABYBUG, LADYBUG, SPIDER, CRICKET, and CICADA) will consider all manuscripts that are sent on speculation. We do not accept queries. Please submit a complete manuscript. (Manuscript should be submitted as a .doc, .docx, .txt, or .rtf file.) Fiction and nonfiction manuscripts should include an exact word count; poetry manuscripts should include an exact line count. Include full contact information: phone, email, and mailing address.

Please allow up to 3–6 months response time.

 

What Happens Next?

The Manuscript Review Process

  • After manuscripts are received, they are reviewed by first readers. First readers consider each submission’s literary potential and whether it might be a good fit for one of our magazines.
  • Promising submissions are then carefully reviewed by several editors, including the magazine’s editor.
  • The magazine editor makes a final decision on whether to reject or accept the manuscript. For manuscripts that show some promise but need further development, the editor may write the author to request revisions on speculation.

After Acceptance

  • If we accept your manuscript, we will send you an acceptance letter detailing payment and rights information and any revisions we would like you to make (which acceptance shall only be binding upon your signing a final agreement that embodies agreed-upon rights and terms).
  • Once we’ve received your revisions, we carefully line edit the manuscript. The manuscript is then returned for your review. We work closely with our writers to bring out the best in each story, essay, and poem.
  • Once the manuscript is edited, it will be kept on file until it is assigned to an issue. Because we work 6–8 months ahead of each issue, it can be a year or more before a manuscript is placed.

Rights

  • Stories and poems previously unpublished: Rights vary.
  • Stories and poems previously published: SPIDER purchases second publication rights. Fees vary, but are generally less than fees for first publication rights.

Rates

  • Stories and articles: up to 25¢ per word
  • Poems: up to $3.00 per line; $25.00 minimum
  • Activities and recipes: $75.00 flat rate

Via: Spider’s Submittable.

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