Taking Submissions: Last Shot Fired

Deadline: April 30th, 2017
Payment: $10

Topic: Last Shot Fired

Imagine a war going so long that every last resource has been used up in the fight for survival, or a world that has taken extreme measures to end warfare and violence. In this anthology we want to explore what the idea “Last Shot Fired” means to you.

This could be about a spouse that has finally reached their breaking point and said that one thing that cascades the relationship into total chaos, or being against the wall against overwhelming odds with almost no resources or backup, what imagery is brought to your mind by this phrase?

We are looking for a wide variety of stories from almost every genre.


Limitations: Keep it PG-13. Not too much gore, nothing sexually explicit, and keep the cursing down.

Word count: 2,000-6,000 words

Due Date: 30 April, 2017

PaymentWe will pay $10 for each story that is accepted, send you a free ebook copy, and you will receive a 40% discount code for paperbacks which you can sell at full price. You will also be invited to a private forum just for anthology members.

Contract Details: We are asking for Exclusive (for 6 months from publication) First Anthology Rights.

Formatting: Use a standard font (Times New Roman, Courier new), 12 point, double spaced. Indent the first line of each paragraph WITHOUT using tabs.

You will be expected to work with our editor to polish your story.

About the Author: Please include a short biography (1-2 paragraphs) about the author at the end of your story (after the words THE END). This biography will be used in the anthology if your story is accepted.

How to submit:

Email your story as a .doc or .docx to [email protected]. You WILL receive conformation of receipt within seven days.

Via: Midnight Writer’s Society.

WIHM: Serial Killers And Horror Writers

Definition: Serial Killer
noun: serial killer; plural noun: serial killers

  1. a person who commits a series of murders, often with no apparent motive and typically following a characteristic, predictable behavior pattern.

Definition: Horror Writer
noun: serial writer; plural noun: serial writers

a person who writes a series of murders, often with no apparent motive and typically following a characteristic, predictable behavior pattern.


My name is Lisa Vasquez, and I am a serial killer writer.


When people find out I am a writer it usually starts with a smile. A fascination with my craft that typically follows with, “I’ve always wanted to write a book.” I smile with polite tolerance and nod appropriately in response to their poking and prying into my work life with their over-personal questions. I find it somewhat offensive when someone digs in so far you wonder if you’re being audited by the IRS or if they are so unaware of how rude they are being.

“I’ve been told there’s no money in writing. You must be doing well.”
“Oh, you’re a writer? Are you on the best sellers list?”
“I’ve always wanted to write a book. I think I will write on this summer.”

Inwardly, I respond. Thanks, random stranger. You know, I always wanted to catheterize someone. I think I will become a Registered Nurse this summer. No, I’m not on the best sellers list but you knew that already, I appreciate the condescending tone coming from the downward slope of your thin nose. No. There’s not a lot of money to be made in it unless you work hard like any other career, craft, trade, and so on. You know what does make a lot of money? Selling organs on the black market.

Outwardly, it goes more like…”I’m a starving artist but it’s fulfilling and I can’t see myself doing anything else. I get to make my own hours, write what I know and love, and see my family. Oh, you flatter me! Not on the best sellers list, yet! Hey, wanna buy my book? Haha! You should write a book! I’m sure you’ve got a good story in you that needs to be told. Oh? An autobiography? Yes, you should write about your life. I’m sure a lot people will relate to your life and everything you’ve gone through.”

My favorite part of the conversation then makes its arrival.

“I’ve tried to write a book before. I just keep stopping or don’t have time. Got any tips for me?”

I smile and continue to try and hide behind my glass of wine or beer, or whatever hors devours I’m escorting around on a napkin. I’m using either to keep my mouth otherwise engaged so I don’t slip up and tell this stranger, “Yes you’ve just insulted me by calling out my minimal annual take home revenue, and snubbed the skill and devotion it takes to sit down and write 70-100k words. Words which not only go together but don’t put your audience to sleep faster than a sermon on Sunday. Absolutely! I want to tell you how to do my menial, unappreciated ‘job’. By all means, I’ll give you free mentoring and waste more of my time.”

No, I don’t say these things because it’s not worth it. Saying those things will do me no good in the long run.

“I’ll share with you the best advice I’ve been given,” I say, and they now they’re leaning in to hear words of wisdom they expect to come swirling out of my mouth like a zen riddle of enlightenment.

“Write what you see, do, experience every single day. If you write what you’re passionate about, the stories will be more engaging and appear more real to the audience.”

Their eyes like up. That’s it. You’ve been elevated to Yoda and Obi One all rolled up into a small, petite package. Eff Ghandi. You have inspired this human being in front of you to Amazon Best Seller Status!

“That makes so much sense!” they say and give your arm a touch.

This makes my eyes drop instantly to where they’ve made contact. I don’t like to be touched by strangers. When my eyes meet theirs again, invoking an uncomfortable moment of silence they laugh it off with a weak chuckle and look around before clearing their throat.

“So, I never asked you,” they continue, trying to smooth over and recapture the spark of conversation, “What do you write?”

Bingo. I’ve looped you in and now it’s time for me to make my profound exit.

“I’m a horror writer. I write a series about a woman who sneaks into parties and makes friends with strangers so she can stalk them. I’m sure you have heard about it. Oh, but if not I can email it to you. Do you have an email address? Or maybe I can come over? I’m free tonight after the party. I am really glad we met. We have so much in common and since my best friend died last month I have no one to talk to. No? Not tonight? Why not?

And that’s it. I’m free to go about my mingling, or wall-flowering … whichever it is that night. They go on their merry way to tell everyone that I’m the freak and how much I scared them.

First one’s free, I think with a grin because I know it’s better than any business card money can buy. That person’s going home and Googling my ass off. And telling their friends, and their friends’ friends and co-workers…etc., etc.

Lisa Vasquez

Lisa Vasquez

ABOUT THE AUTHOR:  By design, Lisa Vasquez creates horror with vivid, dark, and twisted words and images that not only drags the reader in between the pages, but onto the covers that house them, as well. When she releases her grasp, readers are left alone to sort through the aftermath those images leave behind; each one becoming a seed that roots itself within the soft confines of their psyche. She takes this passion for writing horror and uses it to mentor other authors and volunteers as the Publisher’s Liaison for the Horror Writers Association. In January 2016, Lisa took her commitment to the next level and opened an independent publishing house, Stitched Smile Publications.

You can read Lisa’s work in several anthologies, or by purchasing her newly released novel, “The Unfleshed: Tale of the Autopsic Bride”. For more information and updates on Lisa’s work, you can find her at: www.unsaintly.com, Instagram (unsaintly), or Amazon.

Taking Submissions: Cat’s Breakfast

Deadline: April 15th, 2017
Payment: 6 cents per word

Third Flatiron Publishing is based in Boulder, Colorado, and Ayr, Scotland. We are looking for submissions to our quarterly themed anthologies. Our focus is on science fiction and fantasy and anthropological fiction. We want tightly plotted tales in out-of-the-ordinary scenarios. Light horror is acceptable, provided it fits the theme.

Please send us short stories that revolve around age-old questions and have something illuminating to tell us as human beings. Fantastical situations and creatures, exciting dialog, irony, mild horror, and wry humor are all welcome. Stories should be between 1,500 and 3,000 words. Inquire if longer.

Role models for the type of fiction we want include Kurt Vonnegut, Arthur C. Clarke, Dan Simmons, Connie Willis, Vernor Vinge, and Ken Kesey. We want to showcase some of the best new shorts available today.

For each anthology, we will also accept a few very short humor pieces on the order of the “Shouts and Murmurs” feature in The New Yorker Magazine (600 words or so). These can be written from a first-person perspective or can be mini-essays that tell people what they ought to do, how to do something better, or explain why something is like it is, humorously. An SF/Fantasy bent is preferred.

Continuing with Third Flatiron’s quarterly themed anthologies, we will be soliciting SF/Fantasy/Horror short stories with the following themes. Themes are designed to be open-ended, allowing authors considerable leeway. We appreciate short, imaginative tales, preferring those that work with the theme in some way. Short stories should be 3,000 words or less. Flash humor pieces (<=1,000 words) can be on any theme. We aim to be inclusive and encourage submissions from all creators.

Cat’s Breakfast” – Science fiction/satire. Now at the 10th anniversary of his death, Wikipedia says Kurt Vonnegut was famous for his “gallows humor.” E.E. King put it another way, citing his “sideways, humorous,
skeptical view.” We want this anthology to pay tribute to the imagination and inspiration of the ineffable Mr. Vonnegut. Note that we’d prefer you avoid using Vonnegut’s characters or settings explicitly; rather, we’d like you to “channel” his attitude into a speculative fiction piece of your own.  (Image by Manfred Heyde, commons.wikimedia.org)

Reading Period: February 15 – April 15, 2017
Writer Deadline: April 15, 2017
Publication Date: June 15, 2017

Stories should be submitted in either Microsoft Word (using double spacing), RTF,  or plain text. They should be between 1,500 and 3,000 words. Flash humor pieces (Grins and Gurgles) should be short, around 600 words.

Please don’t send simultaneous or multiple submissions. If a story has been rejected, you can then send another.

Submit by email to

[email protected]

either as an attachment (Word, RTF) or in the body of the mail (text).

In the Subject: line of the email, please put


to avoid being deemed a canned meat product based on ham.

If the work is for the humor section, please note that in the body of your email. A brief bio and a one- or two-sentence synopsis in the body of your email would also be helpful to us.

Use the following template (basically, follow William Shunn’s Standard Manuscript Format):

Your Name



Word count

[10 blank lines]



Body of story


Our response time is expected to be about 8 weeks (or less if the writer deadline is coming up soon).


As of: November 1, 2016

Your story must be original work, with the digital rights unencumbered. Accepted stories will be paid at the flat rate of 6 cents per word (U.S./SFWA professional rate), in return for the first publication rights to the story for six months after publication. All other rights will remain with the author. We no longer offer royalties. If your story is selected as the lead story, we request permission to podcast the story as a free sample portion of the anthology. We welcome new writers.

Third Flatiron will price and market your story to various e-publishing venues. We will format the story for the most popular  electronic readers and platforms. You agree that we may distribute a sample (portion of the story) to potential customers.

For non-U.S. submissions, we prefer to pay via PayPal, if you have such an account.

Authors selected for publication will also be entitled to one free online copy of the anthology.

Via: Third Flat Iron.

Taking Submissions: Untitled Military Fiction Anthology

Deadline: March 1st, 2017
Payment: $25 or $100 depending on Kickstarter.

Attention Authors!

We are soliciting short stories by new and established authors in the military-fiction genre, between 3,500 and 7,000 words in length. At least ten entries will be selected for publication* in a short-story anthology, to be funded with a Kickstarter project. At least three entries will be selected from among those received before the Kickstarter goes live.

Payment to the selected authors will depend on the success of the Kickstarter. If it funds, authors will receive a minimum of $100 each (max $1,000). If it fails, authors will receive $25 each, paid out of my pocket. (Sign up here if you want to know when the Kickstarter goes live.)

Submission Rules

How to submit: Email your manuscript (acceptable document formats: Word, PDF, Pages, TXT, RTF) to the following address: milfic at orenlitwin dot com. Begin the subject line with “[Submission]”, and make sure to list contact information in the email itself.


Genre: Military fiction, broadly defined. So resistance fighters against Nazis in Warsaw or a tyrannical government in Ohio would qualify, as would English longbowmen or samurai. “Near-future” speculative fiction is acceptable if set within the next decade. Supernatural or fantasy elements do not qualify for this anthology—if you are interested in those or other genres, please suggest them for our next project!

Prompt: “The odds are against us.”

(In particular, Mary-Sue or Rambo type characters who crush the opposition without effort are strongly discouraged. The protagonist(s) must face the likelihood of failure.)

Note: actual combat is not necessary. Day-in-the-life stories, or the travails of the humble logistics officer, or other stories not involving violence, are perfectly acceptable as long as they make good reading.


Entries must be your own work, must be previously unpublished, and may not be plagiarized. You must own all copyright to work submitted. No exceptions!

Works must show adequate command of the English language, grammar, and punctuation. Rule-breaking for effect, as with stream-of-consciousness writing or the use of a Flowers-for-Algernon type of narrator, will have to show particular merit. Otherwise, do your editing in advance!

Works with strong thematic elements are encouraged. The martial virtues—honor, courage, sacrifice, as well as less traditional ones like cunning and deception—are encouraged. Nihilism can be part of the setup, but should not be the conclusion—the characters should push through nihilism to the other side, whatever that is.

Religious themes are acceptable, but should be broadly drawn: using a character’s religious beliefs to illustrate the virtue of faith, or commitment, and so on—or conversely, using a character’s religious beliefs to illustrate the dangers of unthinking obedience, or us-versus-them attitudes, or whatever—rather than the specific endorsement or criticism of a particular religion or sect. (There is a difference between opposing barbarity that is motivated by a religion, and opposing a religion in toto.) Works that are overtly proselytizing, or overtly bigoted against a particular religion or against religion in general (or anything else, really), will be rejected out of hand.

Story length between 3,500 and 7,000 words.

PG-13. Swearing should be mild, sex of the fade-to-black variety; gore can be present if justified by the plot and theme, but should not be luridly emphasized.

Good luck!


* Selected authors agree to grant exclusive publication rights to their story in all media to Oren Litwin and/or his agents for a period of 12 months from publication date, or 24 months from the contest ending, whichever comes first. The authors agree to grant an irrevocable nonexclusive license to Oren Litwin and/or his agents to publish their story as part of this specific anthology, and no other, which will persist after publishing rights revert.

By submitting your work to this contest, you assert that you hold copyright to all elements of the work in question, and that your work does not infringe on someone else’s copyright. By submitting your work to this anthology, you grant an irrevocable nonexclusive license to the organizers of this contest to use any plot elements or character elements from your work, and agree not to sue the organizers for plagiarism regarding the use of particular plot or character elements. (Not that I intend to use anything, but I’d rather not be sued for something I write that has a character that is vaguely similar to one in a story submission I received years ago, thank you very much!)

Via: Oren Litwin.

WIHM: Why Stand on a Soapbox for Women in Horror Month?

When it comes to celebrating or honoring one gender over the other, I generally come down on the side of neutrality. Being a woman in the horror publishing industry doesn’t make me special; it doesn’t place me above or below anyone else regardless of my chromosomal make-up. In the past, that wasn’t necessarily true. In days gone by, a woman who wanted to be recognized for her work as an author, an editor, or a publisher might have assumed a male pseudonym out of necessity, or simply not disclosed her gender by choosing a non-gender affiliated name to function under. Those were sad times, but they were in keeping with their place in history. That’s not an endorsement for inequality, but a realistic, informed view of how things transpired.


One of the key reasons we need Women in Horror Month is to remind ourselves that a prejudice solely without merit existed, and that as intelligent, productive members of society, we can’t allow those circumstances to resurface. I always find it shocking to run into gender bias in any creative community. Besides being a writer, an editor, and a publisher, I also work in graphic design, internet environment development, and as a professional photographer. In many ways, some of those communities haven’t caught up with the wave of appreciating a woman as much as a man. Photography, for example, is still one field where women have to fight to be recognized. The general consensus when I tell people I’m a photographer is ‘so you like taking pictures’ – that’s a highly offensive and extremely ignorant point of view, but it is also the prevailing notion. Artistic photography, or even product photography, is not simply ‘taking pictures’. It requires a degree of talent, the know-how to set a shot properly, and most importantly, the experience and ability to recognize good subject matter from what may not be as aesthetically pleasing. It’s about understanding angles, light, shadow, the interaction between objects, and many other factors. If a man states he’s a photographer, it is somewhat assumed that he already understands these things and has established himself within the craft. Yet when a woman states the same, the bias bubbles up and the general assumption is ‘they like to take pictures’. I don’t believe it’s an intended bias, but it exists nonetheless.


Why the diatribe about photography in an article about the horror writing/publishing realm? Because it’s another part of who I am (and I am certainly a woman working in horror); it’s a subject I can speak about with a fair degree of authority, and one I can draw a clean, concise comparison to. It’s an artistic field that has not yet evolved as far as the writing world’s independent and small press mentality has toward women is general. It is exactly why Women in Horror Month is relevant and necessary. We, as a whole, need the reminder that a woman’s efforts were at one time considered unequal to that of a man’s, and we need a check point to keep from sliding backward toward that misnomer. Why women specifically and not simply equality? Because this newly adopted perception is only pervasive in the small-press publishing world. Traditional or larger publishing houses still hold the general bias that unless a woman is writing romance, her work will most likely be inferior to that of a man’s. It’s an ugly truth, and I’m not saying it can’t or won’t slowly shift, or that it applies unilaterally to all large publishers, but I am stating that from the evidence I’ve see, we aren’t anywhere near eliminated it and gaining full gender equality – not yet anyway. So, to reiterate the title, why is it worth standing on a soapbox for Women in Horror Month? Because women and men working in the horror industry are equally capable, and we need to remember that fact.


Thank you, Stuart, for allowing me to voice my opinion on Horror Tree for Women in Horror Month. I’m honored to be considered and included!


Nina D’Arcangela

Nina D’Arcangela

Nina D’Arcangela is a quirky horror writer who likes to spin soul rending snippets of despair. She reads anything from splatter matter to dark matter. She’s an UrbEx adventurer who suffers from unquenchable wanderlust. She loves to photograph abandoned places, bits of decay and old graveyards. Nina is co-owner of Sirens Call Publications, co-founder of the horror writer’s group ‘Pen of the Damned’, and if that isn’t enough, put a check mark in the box next to owner and resident anarchist of Dark Angel Photography.

Taking Submissions: Zombie Punks Fuck Off

Deadline: April 30th, 2017
Payment:1 cent per word

Punk is dead, or so we keep hearing. And zombies are overdone, right?

Well fuck it, now punk is undead.

Zombie Punks Fuck Off will be a collection of zombie punk short stories. We’re looking for short stories where zombies and punks collide. More than just that, though, is the inclusion of the wide variety of punk subcultures and authenticity. Anyone can write a story about cartoonish, neon haired assholes fighting zombies; we want people writing about punks who know something about punks. We want punk pluralism, all subgenres and varieties encouraged. We want crusties and straight-edge hardcore kids, deathrockers and riot grrls, queer punks and nihilistic 70’s punks, vegan peace punks and LA glitter punks, proto-punks and post-punks, and everything else, too. Take us to different time periods and all the corners of the world where punk finds a foothold.

We want our zombies weird. Like punk did to rock and roll, let’s fucking do that to zombies. Rip it apart and reassemble it. Give ‘em teeth again. Strip it down and fuck it up. Make it weird, make it unique, and make it new. Slow, fast, mutated, hybridized with other things, not of this world, from the grave, government experiments, the chilling work of mad scientists, ancient religions – whatever it is, mix it up and make that putrid rot smell fresh again.

Zombie Punks Fuck Off will be edited by Sam Richard (co-editor of both Hybrid Moments: A Literary Tribute to the Misfits and Blood For You: A Literary Tribute to GG Allin) and published by Weirdpunk Books (publisher of both aforementioned anthologies).

Follow standard manuscript format. We will reject your story if you don’t. Why should we care about your story if you don’t care enough about it to spend a minute formatting it correctly? (Information on standard manuscript format)

No Reprints.

Multiple Submissions welcome.

Will be published Fall of 2017.

2000-5000 words, with 3000 being the sweet spot.

It pays 1 cent a word.

Submissions due date: 4/30/2017

Send submissions as attached .doc, .docx or .rtf to weirdpunkbooks at yahoo dot com.

Like the Weirdpunk Books Facebook page for more info and updates.

Via: Freak Tension.

Taking Submissions: Pulp Modern, Volume Two, Number One

Deadline: March 10th, 2017
Payment: $10 usd
Note: This isn’t open until March 1st, 2017 but with such a limited submission range, we’re posting this early.

Pulp Modern is a fiction journal that publishes crime, fantasy, science fiction, horror, and westerns. Absolutely NO SUBJECT is taboo. Pulp Modern believes in true and absolute freedom of speech. Stories should be between 2000 and 3500 words. That word count isSTRICTLY ENFORCED. At this time, there will be no serializations unless requested by the editor.

The next reading period is:

March 1, 2017 to March 10, 2017

Pulp Modern will compensate writers a flat rate of ten dollars per story (I understand this isn’t a professional rate and I apologize. Right now, this money comes from my pocket and my pocket just isn’t that deep).

Pulp Modern claims the following publication rights: First English-language Rights, English-language Periodical Rights, World Periodical Rights, and Electronic Distribution Rights. All rights will revert back to the writer six months after initial publication.  Should Pulp Modern choose to create an anthology of previously published work, new rights will be negotiated.

Pulp Modern will NOT CONSIDER simultaneous submissions.

Pulp Modern will not publish reprints unless they are requested by the editor.

Pulp Modern will not accept poetry at this time.

To submit stories:

Send your story in standard manuscript format as an attached document (.doc or .rtf) to

therealpulpmodern (at) gmail (dot) com

Please write “fiction submission” and the title of the story in the subject line.

Include a cover letter in the body of the email as well as a brief biography.

Pulp Modern is published twice a year.
Thank You,


“Diversity” Statement: Pulp Modern believes the color of your skin, the gender you identify with, the religion you practice, and all other identity markers the powers-that-be use to divide, confuse, and set the masses at war with one another have absolutely nothingto do with the quality of your prose. We do not judge your work based on ANYTHING other than the work itself. If you are a great writer, your work will be recognized.

Via: Pulp Modern.

WIHM: The Things That Used To Scare Me…

When I was a kid, I had a ventriloquist dummy. I knew he was going to come to life in the night and eat my face off with that weird clackity clacking mouth of his. Obviously, he didn’t because I’m here to tell the tale of my survival…but since I still have him, I guess he still has time.

To this day, I will not look into the mirror at night when I get up to use the bathroom because I am convinced a terrible impulse to say “Bloody Mary” three times will overcome me, and she’ll come out of the mirror. Then I’ll wish I’d been lucky enough to get my face eaten off by a demonic dummy.

I’ve been writing horror since I was what weird little kid. Some of my very first stories were about vampires and ghosts bent on revenge. Monsters. Werewolves were always a favorite, too. As I grew up and focused on my writing career, I never lost my love of horror even though I turned to a different genre. Most of my published work is romance (mostly of the sexy sort.) I like to say that writing horror and writing romance is actually very similar – there’s often a lot of screaming a fair amount of bodily fluids. And honestly, what’s scarier than the utter horror of being in love?

The older I got, the more I discovered the real terrors were not the things with long, scrabbling fingers and wretched, gnashing mouths. The things that scared me turned inward. I had thought I knew what horror was, but it wasn’t until after I had my children that I realized what really terrifies me.


That scares me the most.  Since becoming a parent, I can’t read Pet Semetary.  The Babadook left me shaking. To me, those are stories not only about monsters, but about loss and grief and despair.

The fear of watching something bad happen to my children, to be unable to prevent it? Those nightmares have woken me, shaking and crying out into the darkness. Being incapable of protecting the people I love is so horrifying that it makes my mind reel.

So, what do I do about the things that scare me? I write about them, of course. Digging deep, I yank those fears to the surface, knowing that won’t completely dispel them but hoping to gain some power over them anyway.

My novel Little Secrets features a young woman about to have her first baby, and the things that haunt her in the new house she and her husband have moved into. The idea of seeing things from the corner of your eye while you’re in your most vulnerable state had me terrified as I typed. Yet Little Secrets isn’t just a haunted house story. It’s about grief and the things we do when we’re afraid of losing what’s most precious to us.

One of my latest stories, Blood Born, is about a young woman with a newborn infant. Stranded in the snow, forced to rely on the dubious kindness of a family of lunatics, the heroine is willing to do whatever it takes to protect her child. Worse than the lurking threat of what her sinister hosts might do to her, in my mind, was her vulnerability. Sure, we can all claim aloud that we’d do anything we had to in order to keep our loved ones safe, but what happens when your own body is weak and incapable of doing that? What if you want to push yourself to the limit to protect your baby, but you simply…can’t.

My heroine Tori has to reach inside herself to find something strong enough to survive, not only for herself but for her baby. Tapping into my fears about loss, devastation, my own physical weakness, I made Blood Born one of the most personally disturbing stories I’ve written. But isn’t that what makes something truly horrifying and scary, when it calls upon something intimate and personal? Blood Born is available now from Howling Unicorn Press (https://www.facebook.com/HowlingUnicornPress) in INTERSECTIONS: Six Tales of Ouija Horror, an anthology that features some other terrific stories from Rob E. Boley, Kerry Lipp, Brad C. Hodson, Séphera Gíron and Chris Marrs.

My horror stories aren’t all about children. I still love to write about monsters and things that go bump in the night. But when I reach way down into the caverns of my soul to find the things that scare me, the themes that recur are universal, and I think that’s what makes them work. For me, it’s always scariest when I believe it could happen to me.

Megan Hart

Megan Hart

Megan Hart writes books. Some of them use a lot of bad words, but most of the other words are okay. She can’t live without music, the internet, or the ocean, but she and soda have achieved an amicable uncoupling. She can’t stand the feeling of corduroy or velvet, and modern art leaves her cold. She writes a little bit of everything from horror to romance, though she’s best known for writing erotic fiction that sometimes makes you cry. Find out more about her at meganhart.com.

Taking Submissions: Cicada Magazine: Hauntings

Deadline: March 27, 2017
Payment: Up to 10 cents per word

Cicada YA/teen lit magazine seeks fiction, poetry, comics, and essays on the theme of Hauntings. A haunting is a remnant of something that never really left and refuses to be completely forgotten. A house might be haunted by the spirit of a previous owner, or a person might be constantly shadowed by past events. Maybe someone is always on your mind, or maybe you are constantly dwelling on what could have been. Show us what’s rattling chains in your dark corners.

General Information

CICADA is a YA lit/comics magazine fascinated with the lyric and strange and committed to work that speaks to teens’ truths. We publish poetry, realistic and genre fic, essay, and comics by adults and teens. (We are also inordinately fond of Viking jokes.) Our readers are smart and curious; submissions are invited but not required to engage young adult themes. CICADA does not distribute theme lists for upcoming issues.

Especially welcome: works by people of color, people with disabilities, LGBTQAI+ folks, genderqueer folks, and other marginalized peoples. Not welcome: cultural appropriation.

Fav writers, YA and otherwise: Sarah McCarry, Nnedi Okorafor, Sherman Alexie, David Levithan, Daniel Jose Older, Debbie Urbanski, Nalo Hopkinson, Kelly Link, Chimamanda Ngozi Adichie, Ntozake Shange, Anne Carson, Jacqueline Woodson, ZZ Packer, Angela Nissel, Sofia Samatar, Richard Siken, Malory Ortberg, Saeed Jones, Octavia Butler, Andrea Gibson,

@cicadamagazine / cicadamagazine.tumblr.com


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.


Realism, SF/fantasy, historical fiction: Yes, yes, and yes

Length: flash fic to novellas; up to 9,000 words



Narrative nonfic (especially teen-written); essays on lit/culture/arts; hybrid forms

Length: up to 5,000 words



Length: no length limits. Send us yer epics!



Cicada seeks talented artists who are making thoughtful (or flippant), beautiful (or unsettling), exuberant (or quiet) comics, zines, visual poems, sequential graphic narratives, or any other work in image and/or text. We commission original stories from a brief pitch, and give developmental feedback through the production process.

If you are interested in submitting, please email a short pitch/sketch(es) and a link to your online portfolio to [email protected] COMIC SUBMISSION should be the subject line of the email. If you have more than one pitch, please include them in the same email. Please DO NOT send final art. Please allow up to 3–6 months response time.



  • 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.


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


  • Fiction: up to 10¢ per word
  • Nonfiction: up to 25¢ per word
  • Poems: up to $3.00 per line; $25.00 minimum


Art Submissions Guidelines

We’re always looking for new artists! If you’re interested in sharing your portfolio with us, email [email protected] Use ONLINE PORTFOLIO SAMPLE as the subject line if you are emailing a link to an online portfolio. Use PORTFOLIO SAMPLES as the subject line if you are emailing attachments. Please limit any emailed file to a maximum attachment size of 50 KB.

Because of the volume of portfolios we receive, we cannot reply to individual submissions. We will be in touch if we have a project for you!

We do not accept submissions to our Creative Endeavors feature at this page. Writers and artists ages 14-23, please visit our Creative Endeavors submissions page to submit to that feature.

Via: Cicada Magazine’s Submittable.

Taking Submissions: QuickFic 5

Deadline: March 4th, 2017
Payment: 1 cent per word
Note: Reprints Only

QUICKFIC 5+: SHORTER-SHORT FICTION REPRINTS (To be posted on DigitalFictionPub.com – Horror/Fantasy/Science)

We are AGAIN looking for shorter speculative fiction, in the horror, fantasy, and science fiction genres, for posting at DigitalFictionPub.com as web content, and to be published in eBook and print as a single collection. This listing will be open to Saturday, March 4, 2017. (Subject to extensions.)

We are looking for reprint flash/short fiction that has appeared in professional or semi-professional books, magazines, collections, or anthologies, and that are available to be immediately re-licensed by Digital Fiction Publishing Corp. and published through and on our website (for free) at DigitalFictionPub.com and, eventually, on Amazon (print and eBook) as a collection of flash fiction in an anthology/collection.

We are not looking for and will not license original or self-published stories in any format/venue; the pro/semi-pro requirement is important. However, a semi to pro podcast appearance will be considered.

Important Note: Stories will be posted on our website, for free access, so all of our content rules apply and we’ll be turning up the filters for this as access will be available to all web wanderers, young and old. I don’t imagine we’ll take hard R or X rated stories of any kind, and if you’re depending on heavy gore for your horror it might be a tough sell. As always with Digital, sexual assault of any kind and torture are out of the question. Read our other guidelines, turn up the “won’t publish” to 11, and decide if it’s worth your time and ours to submit.

Also – because these will be published for free online, the chances of retaining much control over the content and its distribution is effectively nil. While Digital absolutely respects the copyright of the author, we’re not going to chase down those persons/pages/sites that don’t respect copyright. By submitting for online publication you are deemed to be accepting bad people do bad things they shouldn’t, and for all practical purposes they’ll likely get away with it. (Lawyers are expensive – trust me.)


Length: 200 (ish) to not more than 3499 words;
Status: Reprints (from pro, semi-pro, or magazine publications. Not self-published or original work.)
Genre: Horror, Fantasy, and Science Fiction. No particular sub-genres.

ONE STORY ONE THE READING LIST AT A TIME – PLEASE. You can send a second+ story after an acceptance or rejection, but not while a current submission is pending. One at a time!


One (1) US cent per word as published, payable within thirty (30) days of the post going live, via PayPal (author pays PayPal transaction fees, if any).

Enrollment in the DFPL Royalty Sharing program, payable first against advance.

Non-exclusive, non-restrictive, second world rights in English for posting to the website digitalfictionpub.com (or successor domain/site) and for one print/eBook/audio publication/title by the Publisher, in a collection or anthology of similar Quickfic works. (See Quickfic Anthology 1 and Quickfic Anthology 2 on Amazon for specifics of where your story will eventually land. Presently we are collecting for QF Anthologies 5 and up).

Author reserves all other rights of any kind and copyright to the work not expressly licensed by Digital.

A formal agreement will be provided for review prior to publication and payment.

We want stories for a young adult to adult (not children) audience. Content should be PG to R rated. No erotica, pornography, or gratuitously offensive content will be acceptedPlease don’t submit anything that fits these categories as it’s a waste of your time and ours.

Thank you for considering Digital Fiction Publishing Corp. We look forward to hearing from you.
* Please consider white-listing @dfpcorp.com and @submittable.com to ensure receipt of submission related emails.

Via: Digital Fiction Pub’s Submittable.

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