Deadline: October 31st, 2017
Payment: $20 per story.
ANTIMATTER publishes flash fiction and story experiments inspired by the latest science news and discoveries.
We’re most interested in flash fiction, but we’re also open to story experiments, narrative games, and text messager-based stories.
HOW IT WORKS
First, find a recent scientific story, headline, or discovery that sparks your imagination. (View science headlines here. View scientific story prompts here.) Then, use that real science headline to inform, drive, or inspire an original flash science fiction story.
A short story up to 500 words (about one single-spaced page that can be read aloud in about five minutes).
A story with a plot (though we’re open to creative interpretation).
A story linked to a recent science headline, new discovery, or new hypothesis or theory.
Writers are encouraged to experiment with the flash fiction story form. For example, your story could be framed as a lab report, scientific article, message transcript, or a poem, or a script. It’s not required, but preference is given to stories crafted to feel real – like they really happened. Such stories can include many links to sources, authoritative quotes, and other techniques that lead the reader to suspend disbelief.
HOW TO SUBMIT A STORY
We use Submittable to manage story submissions. When you send us your story via Submittable, you will need to include a link to the article that inspired your story as well as a short bio.
You will receive notice if your story is accepted within five days of submission.
Payment is sent within 21 days of notice of acceptance.
Antimatter will promote your story via social media, potentially including paid promotion, and via our email newsletter.
Antimatter Magazine pays $20 per story.
We issue payment within 21 days of story publication.
Additionally, we reserve the right to offer you more money for additional reprinting in ANTIMATTER anthologies.
In exchange for the fee we pay for your story, we ask for first North American serial rights and First Electronic Rights. Here’s a good, simple explanation of those rights. What does first publication mean?
Your story will be published on AntimatterMag.com.
Your story might be syndicated to our Medium publication at Medium.com/AntimatterMag.
A link to your story will be distributed to our email list.
Your story will be available to our other channels, including AntimatterMag.com, RSS, and through anthologized issues, which can appear on e-readers and other devices, and in our AntimatterMag.com archives.
Also, unless arrangements are made in advance, we reserve exclusive rights to published
content for 60 days. This means no other posting of the accepted story anywhere on the Web, or in print in the United States or Canada, for 60 days after its exclusive appearance on AntimatterMag.com and Antimatter Magazine channels.
After 60 days, AntimatterMag.com will share full rights with original writers.
First publication in Antimatter grants the Magazine permission to republish flashes, articles, and reviews elsewhere (in, for example, an anthology of the best pieces from Flash).
We are also asking for indefinite archiving rights, as the story may appear on AntimatterMag.com and associated channels.
At the writer’s request, we will remove the story from our archives after 60 days.
If the story is republished after 60 days, we ask that AntimatterMag.com be credited as the original publisher with a link to the piece on AntimatterMag.com in the byline or the body.
In most cases, we don’t accept reprints, including from your personal website. If you think we should, though, let us know.
Please don’t submit the same story to us and any other venue at the same time. We’ll let you know if we accepted it within 5 business days of submission.
We promote your stories on social media and in our newsletter.
Your bio and a link to your website and social profiles will be listed on AntimatterMag.com.
For Antimatter to accept your writing and pay you, we will need:
A print-ready, third-person bio with your cover letter.
A PayPal address or mailing address where we can send payment.
Deadline: September 30th, 2017
Payment: $30 per story, $10 per poem
Please read the following in its entirety before submitting. The rules are needed, and EC will not consider your work if they have not been followed.
It’s important to read samples of published work on EC. You can find just a few examples here.
HERE IS HOW YOU SUBMIT: No unsolicited work of any kind is being accepted. Only the kind of submissions outlined below will be accepted at EC.
— Six times a year, writers and poets will have a chance to submit fairy-tale inspired stories and poems. No non-fiction of any kind.
— Here are the submission periods: Months–January, March, May, July, September, November.
— Days of those months–the first through the 30th. That’s starting at 12 a.m. on the first day of a submission month. That’s ending at 11:59 p.m. of the 30th of a submission month (28th for February). Those are Eastern Standard Times.
— No stories or poems will be accepted in the following months, so please do not send any: February, April, June, August, October, December.
— You submit through email only. Please use this address only: [email protected] That’s for submissions only.
— Your last name, the month and the year should be in the subject line of the email.
— You must be 18 years old or older, but may be from any country.
— You should try to use American English word forms and punctuation.
— Do not send attachments. They will not be opened or considered. Paste your work in the body of an email.
— You will receive a response telling you I have received your submission.
— No editorial feedback of any kind will be provided. I’m sorry about that. I just do not have the time.
— No fancy spacing or characters, please. Do not indent for new paragraphs. Just do an extra return between them. My publishing platform is tricky. Heavy dialogue is very hard to format. Resist the urge. Most classic tales are not heavy on dialogue.
— Your submission must include how you follow EC. Methods include something Google related, Facebook or Twitter or Pinterest (the board called New Posts at Enchanted Conversation). You only need to follow in one way. Just search for my name, Kate Wolford, and you will be able to follow both me and EC. But if you don’t follow, your work will not be considered. For a better explanation, go here: http://bit.ly/27Y2FNI
— A Paypal address must be included. Without one, work will not be considered.
— Only previously unpublished work, please. Only one work per writer per submission period.
— First electronic rights are being bought. Once the story is published, you are free to shop it elsewhere.
— All things being equal, authors who comment and support EC will get greater consideration of their work. But quality takes precedence over all other considerations.
Each of the six submission periods for 2017 will have a theme. Here they are:
1. January: “Steadfast Tin Soldier,”
2. March: “Diamonds and Toads,”
3. May: “Donkeyskin,”
4. July: “Emperors New Clothes,”
5. September: “Godfather Death,”
6. November: “Elves and the Shoemaker.”
When each window for submissions opens, a theme-related post will be published. Please read the relevant post before writing your submission. All of the themes are classic fairy tales, but I do not want retreads of the original stories. At the same time, your works should reflect the chosen theme, or there is no chance of publication.
WORD COUNT and CONTENT
Stories should be no shorter than 700 words and no longer than 3,000.
Poems may be of any length.
Absolutely none of the following: Sci-fi, dystopian, erotica, high fantasy, excessive world building, time-travel, futuristic, space travel, western. Oh, and I hate love triangles. Also, EC is NOT a children’s publication. Period
It’s essential that you read past EC stories and poems to see what I publish on EC. (Note, to make sure there is no confusion, understand that EC is on e-publication only. 12-31-16.) Also, Beyond the Glass Slipper, Krampusnacht, He Sees You When He’s Creepin, and Frozen Fairy Tales give great insight insight into what I publish. You can find them at Amazon, B&N and other booksellers. All are available in ebook form.
The essence of classic fairy tales must be maintained when you write these stories. Your are free to explore themes by retelling a classic tale–but in your own way and in keeping with the theme. I tend to prefer things to end happily, but it’s not essential. Please think of the classic fairy tale form when writing poems or stories. NOTIFICATION OF SUCCESS and PAYMENT
— Story pay: $30, Poem pay: $10. US dollars only.
— Payment will be made through PayPal only.
— Non-acceptance emails will not be sent out. Instead, the names of those whose works are chosen will be posted on EC no later than the 7th of the month following a submission month.
— The winners will usually be published at the end of the non-submission month following a submission month. Example: January is a submission month. Winners will be posted no later than February 7 and winners would usually be published on the last day of February.
Submissions must be in English and written to the highest quality you are capable. Avoid passive voice. Consider making a pass with an editor before submission.
Maximum Word Count is 10,000, however I’m not going to turn away something awesome that’s a little over.
This is a paid market anthology, with a royalty cut for each author. Details available upon request.
Each author retains all rights to their story.
All submissions will be edited and sent to the author for final approval before publication.
Open internationally, but submission must be in American English.
There is no fee to submit.
Please, no reprints or simultaneous submissions.
Multiple submissions accepted. Limit of two submissions per author.
Any genre is fine. However, we are not looking for nonfiction at this time.
Adult language and sexual situations are permitted.
Standard submission format is accepted, or please send in WORD doc or docx, formatted with; 12pt Times New Roman with 1.5-line spacing; left justified with 0.3″ indents on the first line of each new paragraph (Do NOT use TAB); no extra spacing between paragraphs; and no headers/footers/page numbers; one space at the end of a sentence, not two.
To submit, please send your story to [email protected] and include the following information in the body of the email:
Author (Legal) Name: Pseudonym (if applicable): Email: Story Title: Word Count: Short Summary: 3rd Person Biography:
Following Stuart’s recent article on author bios, it has been great to see a number of contributors have actually taken this advice onboard and a few have even sent in a revised bio as a consequence. I can guarantee these bios have given the author a more professional appearance, showing they take their work seriously. The hardest time to write a bio is at the start of your publishing career, I mean what can you say? I know that was the time I found it tough – everyone else was reeling off all their publications and there was me with nothing. That, for me, has now changed – as it will for any of you yet to be published, but, for those currently in this position, I would refer you back to that article and read what the editors in the business say themselves. Then go back to your bio and redraft it.
Stuart has a number of articles planned in the future which we hope will help you on your writing journey, however, if you have any particular topics you would like us to cover, please drop us a line at Horror Tree.
Editor, Trembling With Fear
‘Trembling With Fear’ Is Horror Tree’s weekly inclusion of shorts and drabbles submitted for your entertainment by our readers! As long as the submissions are coming in, we’ll be posting every Sunday for your enjoyment.
Editor, Horror Tree
My shaking hand nearly drops the hunk of meat on its way to my mouth. I fight valiantly against my gag reflex as my tongue and teeth mash the fatty, globular slab of jiggling pink flesh against my gums. I swallow the macerated compote of raw protein, slimy and soft, down my throat. The taste is about as repugnant as you’d think. Pungent. Clammy. The tiniest bit salty.
The revolver’s hammer cocks, the only sound in the otherwise silent chamber. Cold metal licks the side of my head, pressing through my sweat-laden curls, into my skin. The blood pulsing through my temples struggles against the pressure of the gun and the bullet promised in its barrel.
His demand is husky. Vocals ravaged by a life of chain-smoking and barking orders.
My vision swims and swirls. The remnants of ketamine he’d stabbed into my veins blur my sight, corrupt my perception of reality. The restraints pinning my ankles to the fancifully carved mahogany seat at the head of the dazzlingly long, disturbingly empty dining room table seem to tighten. Their leather kiss is not gentle. I can feel the bruises blooming, sickening violet, putrid yellow.
I lift another chunk of brain from the gilded china platter. Meat oozes beneath my fingernails. Grease slathers my palms.
My sob is involuntary, muffled behind a mouthful of my sister’s cranial contents. I chew slowly. Nausea churns my gut but the shame is a thousand times more potent, warping my mind, roiling my stomach, cinching my throat tight like a garrote.
I splutter. Bits of grey matter and frothy saliva spray onto the immaculate tablecloth.
His revolver slams into my head, snapping my head to the left. I can’t help the pathetic yelp and the effeminate whimper that escapes my lips in fear of the bullet inside.
I am a coward.
I don’t want to die.
So I force her brain down my throat, waging a grotesque war against my humanity with my will to survive, to flee this godforsaken place, and put as much distance between me and this cannibalistic monster of a man.
The gun is a frozen, undeniable force against my skull.
“Go ahead, Michael,” he says. “It’s okay to like it.”
I shiver. I cry. Snot and tears do nothing to improve the taste.
I shovel quivering handfuls of my sister’s brain into my mouth, murdered by the man’s unforgiving axe just hours before.
I eat it. Piece by agonizing piece, I eat it.
Gobs of it lodge between my teeth. Drool slathers my face. My stomach moans in betrayal.
“Wasn’t so bad, was it?” His laugh is deep, drawling, casual. “I’ve tried it every which way.”
The revolver is icy.
“Sautéed. Baked. Grilled.”
His breath is rank.
Goosebumps sting my skin.
“That’s the way to go.”
And then he shoots me.
Should’ve never gone to that damned dinner party.
Brianna M. Fenty
Brianna Fenty is a state maritime academy alumna hailing from New York’s wonderfully weird Long Island area. After spending a few months learning highland voodoo from Scotland’s resident fairies (AKA taking a gap year), she now keeps busy at home begrudgingly searching for a day job, writing strange stories, and forcing her very moody cat to read them. Brianna specializes in writing bizarre speculative fiction, including horror, sci-fi, and dark fantasy. Her work can be followed on her blog, https://briannafenty.wordpress.com!
It was just a simple misstep on the stairs. She landed heavily, neatly snapping her ankle. There was no pain, unless she tried to move. She was stuck.
She was alone; her husband was away on business, the phone was out of reach and the nearest neighbor a mile away.
For three days she lay there. Their dog snuffled around trying to help, asking for food and water.
She realised she was going to die, not from the fracture, but from thirst. The dog was the same. She stared into its eyes.
She felt breath against her throat.
R. J. Meldrum is an author and academic. Born in Scotland, he moved to Ontario, Canada in 2010 with his wife Sally. His interest in the supernatural is a lifetime obsession and when he isn’t writing ghost stories, he’s busy scouring the shelves of antique book-sellers to increase his collection of rare and vintage supernatural books. During the winter months, he trains and races his own team of sled dogs.
He has had stories published by Sirens Call Publications, Horrified Press, Trembling with Fear, Darkhouse Books, Digital Fiction and James Ward Kirk Fiction.
Her ghost lurks in every corner. The shelf dust, the molding webs, even the corner shadows. I hadn’t been home in years.
“She’s obviously been here,” Mark said, pointing to ivy, flowering plants, fresh blooms. “Who else would care for these?”
But I didn’t reply. My brother’s question hung in the silent gloom as I traced roots along the walls, thickening like fat fingers pointing to a secret.
“Do you think she’s still living in this dump?” he yelled.
Vines wound their way into a back room, where they dug into Sarah’s corpse—the best fertilizer around.
“No, I don’t.”
Kevin Holton is the writer behind all sorts of work, ranging from dozens of short stories, to a variety of poems, and even a co-written screenplay. His first traditionally published novel, The Nightmare King, is forthcoming from Siren’s Call Publications. He also has a YouTube channel reading some of his drabbles and flash fiction. When not writing, he’s a gamer, actor, athlete, and coffee enthusiast who probably likes Batman too much.
Selene – Please tell us a bit about yourself. Namely, why do you have two blogs, same content, two different places?
Lee – Heh. The two blogs thing is because I’m a touch lazy and a touch sentimental: I’ve had the Battersblog running on the Blogger platform for nearly 14 years now. It’s got a readership, and it’s archived by the Australian National Archives, so I’m rather fond of it. In the last year, I also set up a permanent website at leebattersby.com through WordPress, which has a blog as part of its central functionality, and is much more flexible than the Blogger platform, so I can include multiple pages and whatnot. But I’m still sentimentally attached to my old blog, and can’t bear to just shut it down and shift everything over to the new platform permanently. So, yeah: two blogs, with matching content– one of which is my shiny, tells-you-everything website, and one still hanging around like an old dog, lying blind and useless on my front porch, farting and gumming away at a bone.
As to myself, I’ve been around for about 16 years. I have 3 novels, a collection, and just over 80 stories on my ledger. I’ve won a couple of Australian Shadows Awards, an Aurealis, and a few others. I’m too fat, have pretty much run out of hair, and am addicted to Pokémon Go, dinosaurs, Nottingham Forest, Lego, boxing, graphic novels and metheglin. Apparently, I’m also an adult. I’m married to a brilliant writer in her own right, Lyn, and have three bonus kids and 2 of my own that I have to take responsibility for and can’t blame their behaviour on pixies.
Selene – I noticed a lot of humour on your blog, and there is a relationship between humour and horror. What makes you laugh?
Lee – I have a fairly absurd sense of humour: I grew up inside an English tradition of comedy, so I have a lot of comedic heroes and influences like Spike Milligan, Kenneth Horne, Peter Cook and the like: the whole Oxbridge Mafia, and the British comics who came through the war are huge influences. But I’ve always been a bit dark, psychologically—my family situation growing up wasn’t ideal, and I’ve developed a fairly bleak and cynical side that probably expresses itself best in my horror work. I can be pretty misanthropic, and I think that comes out, too: a friend once said that even if I was capable of writing a story about fluffy, happy bunnies, they’d all end up in a soup.
Selene – Reading your bio would lead any of us noobs to think that you’re a sci-fi writer, although this is a horror blog. How do you approach writing horror vs. sci-fi? I mean, we all know the difference between, say, rocket ships and serial killers, but is there a thematic or structural approach that is fundamentally different?
Lee – That’s funny, because a science fiction writer is just about the last thing I think of myself as being. In something like 80-plus stories, I think I could point to less than half a dozen and say they were real science fiction. I just don’t have the scientific grounding, or curiosity, to write good science fiction. At best, I think I skirt the outsides of what the New Wave of the 60’s referred to as ‘science fantasy’—something a bit sciency, maybe, if you squinted at it in a dim light, but which is really a fantasy story that conforms to fantastic rules rather than scientific rigour. If I’m honest, I’ve published more poems than pure SF stories.
The same goes for horror. I think there are fairly entrenched rules for horror writing, and I think I come off as more of a fantasist who takes his fantasy into dark places. The two forms are much more closely aligned, but I think I write very differently than, say, James Herbert or Karon Warren. I think more along the lines of Paul Haines, who considered himself a fantasy author, but one who write fantasies you didn’t want to get caught up in.
Most styles of narrative writing require discipline and structural rules—most effective storytelling follows a character in action across a setting. It all has to contain a sense of verisimilitude, character identification, and willing suspension of disbelief. Where, say, horror and SF depart from each other is in the narrative components required to achieve that: good SF demands scientific and physical rigour, and realism that is more upfront than in more fantastic stories (I’m generalising like a mad thing, of course: for every argument, there is an equal and opposite ‘Yeah, but…’). More socially-based genres, such as horror and fantasy, require a set list of general physical rules but throw the weight of verisimilitude on cultural interaction and emotional believability.
That is the grossest, and most generalised approach to outlining the differences you could ask for, but it is, perhaps, a starting point. What I tend to refer to when teaching writing is the concept of ‘The World Plus One’—the easiest way to create a fantasy narrative is to take a recognisable world and alter one component so that it no longer fits: you could enter a particular genre based on what component you choose to alter, and how.
I could ramble about the various whys and wherefores all day, but that would be a column in its own right……
Selene – How did you start writing, and why genre fiction instead of something else?
Lee – My first publications, way back when I was attending University in the late 80s and early 90s, were poems. I never set out to be a speculative fiction writer. All I’ve ever wanted to do was be a writer, period. But I’ve been a lifelong reader of speculative fiction, so my thought processes fall naturally into that sphere. And once I’d made my first sale within the genre, they kept coming. In effect, I trapped myself into a way of working that became a simple circle of call-and-response. I’m now in a position where I’m trying to broaden myself again—to work across several genres and forms as I’d always intended—but my reputation remains largely within the Australian speculative fiction field.
I have an enormous amount of love for speculative fiction, and for the SF community, but as an artist I don’t want to limit my growth by sticking to one label.
Selene – You mentioned a former teacher who hated genre fiction. What do you think are the differences between genre and other types of writing?
Lee – Suspension of disbelief. A good story has to contain the necessary elements, no matter what form it comes in. The only difference is that ‘genre’ fiction has a secondary set of criteria to match—not just speculative fiction, but romance, westerns, crime: anything that can be pigeonholed by its narrative conventions is ‘genre’. Frankly, the snobbery towards speculative fiction boggles me. I’ve written across a number of forms and genres, and it’s all bloody difficult to get right. That’s what makes it fun. If it was easy, anybody could do it.
That particular tutor—Elizabeth Jolley—was a contemptuous sort of teacher, who held anything not in her own wheelhouse in disdain. She should never have been in charge of a group of aspiring authors: she had no understanding of the requirements of writing, in a wider sense, and absolutely no ability to interact with people who wanted to work in anything outside her very strict, realist definition of literature. God knows what she’d have done with an aspiring Keats or Borges. But her name brought credibility to what was one of only 2 or 3 tertiary writing programs in the country at the time, I guess. It probably took me ten years to unlearn what she taught, and to create work that actually found a market.
Selene – On your blog, you write about your experiences at a writers’ retreat. How does this enrich one’s experiences as a writer? Most of us who can’t afford it can only look at the photos!
Lee – I wish I could afford a retreat, too! I was fortunate to be chosen as the Establish Writer-in-Residence at the Katharine Susannah Prichard Writers Centre this year, and I can’t overstate how wonderful it was to be able to spend 2 weeks focussing solely on my writing, with nobody else’s timetable even entering my mind. Real Life ™ has eaten my writing career alive over the last 2 years: being able to put absolutely everything else aside, even the things and people I love, and focus only on the act of writing, was immensely liberating.
Selene – I guess “where do you get your ideas” is a common question, but what does influence your stories? What do you like to write about?
Lee – A lot of it is simply following your passions and reading widely. I think any artist owes it to themselves to absorb as many experiences as they can. Then it’s a matter of your ability to intertextualise—to draw comparisons and contracts between all those bits of data you have filed away, all those experiences you’ve accumulated. Stories don’t really happen in the learning of facts, or the observation of events—it’s the space in between them, the places where otherwise unrelated nuggets of understanding overlap, that creates ideas. And the more of them you have, the more you’re exposed to the world and creating this ongoing web of connections and inferences, the more ideas you’ll have.
After that, whatever the voices in your head tell you is your problem……
For myself, amongst many other subjects, I have a special love of what I think of as ‘hidden histories’: histories of things outside the mainstream, or which you might not think of as having a story. For example, one of my favourite authors, Catharine Arnold, has written histories of Bethlem Hospital, of London’s funerary practices, its criminal classes, and so on. I also have a deep love of true crime, particularly from before the 20th century. As a horror writer, they’re not bad as staring points J
Selene – You mention world-building on your site, and that you’ve developed some theories over the years. What is the best approach to world-building? I know it’s extremely important in sci-fi and fantasy, but how is it the same or different for horror?
Lee – I think it’s exactly the same. What makes for good speculative fiction is the disturbance in the status quo. But for that to be effective, you first have to establish that status quo. I see a lot of horror stories where writers simply throw everything at the reader in the hopes that some of it will have an effect, and those stories always end up reading a bit like a child jumping in puddles: lots of splashing, very little impact. Verisimilitude is everything: if your reader believes in the world you’re portraying, then they’ll believe in the abuses you visit upon that world when they arrive.
I run entire workshops on this subject, but the very short, Reader’s Digest version is: make sure everything works. If you depart from what we accept as our reality– where the speed of light is constant in a vacuum, and gravity is nine metres per second per second, and up is up and down is down and all that jazz—then that departure has to be justifiable, and it has to work within the physical constraints of the Universe you’re creating.
So, your Universe must have rules, even if you’re writing a story set in the hidden 10th level of Hell, because without them, there is nothing for reality, (or if you’re writing a story about unreality breaking into normalcy, the other way around), to react against. Fiction is based on restraint and conflict—if anything can happen, then nothing that happens has consequence. And without consequence, there is no conflict.
Selene – I notice you’re a Doctor Who fan. I’m not (sorry!) and haven’t watched the show since I was very young, back in the late 70s/early 80s when it was the guy with the fro and the scarf. I noticed the trailer for the female Doctor on your site, and was wondering what you think of the gender-flipping that’s been happening with characters. Female Ghostbusters. Female Ocean’s (Eight) Eleven and Lord of the Flies. A male Heather Duke. Is there something to be gained by a gender swap, or is it just a calculated move toward “inclusion?”
Lee – I’m not at all averse to gender-swapping. I think it can do wonderful things to a narrative, and bring light to issues that may not be apparent in the original text. The Ghostbusters reboot is a fantastic example of that: the original is a story about a bunch of guys who are frustrated in their attempts to catch ghosts because ‘normal’ society thinks they’re a bit kooky. Then it gets gender-swapped, and there’s a whole new level of conversation that happens about how women with innovative ideas are marginalised. It immediately layers the narrative.
Where it enables those new commentaries to be opened up, I think gender-swapping—and colour-swapping, which can also bring new things to a text but doesn’t seem to capture the same media attention– is an excellent idea. Like any narrative tool, if it’s used effectively, then it should be explored. Where it will be ineffective is if it’s just used as a way to drop a female actor into an unchanged text. If so, nothing changes. You just add a layer of exploitation.
Selene – I read about your “writing karass” on your blog, the idea that certain people influence you. How did you come up with this idea, and what does it mean? Does this ever affect how you develop your character ideas?
Lee – The karass is a concept dreamed up by Kurt Vonnegut for his novel “Cat’s Cradle”— a group of people who are linked spiritually, without necessarily knowing it or understanding the link. It’s a measure of effect, rather than overt cultural placement. You could be a part of my karass because you performed what, for you, was a small act, but one that had a lasting effect upon me.
I like the idea, because it’s a way for a person to catalogue and include the people who have affected the course of their life, without ever having more than a single act or moment. It also allows you to give equal weight to good or bad actions based not on their intent or duration, but on their effect: Elizabeth Jolley is a member of my writing-based karass because of her negative actions over a period of time, just as Algis Budrys is because of a brief positive action that was small for him, but momentous for me.
Selene – Is there a type of character or a story idea you haven’t written yet but would like to? Why or why not?
Lee – Oh, hundreds. As I said earlier, I set out to be a writer, not just a writer of a specific genre. I really want to have the kind of career where I wander from idea to idea as the whim takes me. So, I’ve not written a crime novel yet, or a post-apocalyptic western, or a comic book series. I’ve not written a TV series, or a stage play. I’ve not written an historical, or a memoir, or a picture book.
I have more plans than I have lifetime J
Selene – What are you working on now? What’s coming in the near future for you?
Lee – Writing’s been a bit up and down for me for the last 18 months. I’ve gone through some difficult times at my day job that have affected my writing life. I’m chipping away at a new children’s novel, entitled “Ghost Tracks”, about a boy who is tricked into derailing the ghost of a train and then has to travel to the ghost world to make amends. And my wife and I are about to undergo a big life change that should mean I can devote more time to writing: essentially, we’re going to undergo a job swap that will see her become the main breadwinner and I’ll stay at home. She’s about to finish qualifying as a teacher, and we’ll be going country for the next couple of years, which will enable me to keep house, write, and devote some time to setting up an arts consultancy business, which I’ve been toying with doing for a little while. If that happens, I’ll be looking to spend 2 years absolutely cranking out work to get my career back where I want it to be.
Selene – You mentioned you started writing in 1989. How has writing and publishing changed in the last 28 (gulp!) years, and what’s the same about it?
Lee – My first publication—a poem—was in 1989, during my first year of University. It was written on a manual typewriter. I made a copy on the library photocopier, for the princely sum of 4 cents. I sent it in an A4 envelope. When I sent overseas, I had to include International Return Coupons so that my rejection (and they were all rejections) could be sent back to me. I kept track of my submissions using a card system in 2 boxes—one for stories, and one for markets—which I filled out in pen, after having received submission guidelines by sending a stamped, self-addressed envelope to the market in question. Those guidelines I punched and kept in a file.
As of right now, I haven’t sent a story in hardcopy to a publisher in over half a decade. All my records are kept in a single Excel spreadsheet. I haven’t received a physical cheque in I don’t know how long—even my overseas payments happen by direct deposit. Everything is quicker, easier, and simpler. The internet is the best invention in the history of writing. And it’s all portable. I have a hard drive the size of my palm that contains my entire career amongst the other 1 terabyte of information inside of it. I love living in the world of tomorrow.
Perhaps what’s changed most for me—and keep in mind that I don’t buy e-books, I don’t own an e-reader, and I still get depressed when websites close and take my story with them—is the widespread acceptance of how temporary the nature of the reading experience is, now. Reading is a form of disposable entertainment, whereas the purchase and storage of books is something permanent, and something that can be revisited. It’s illusory, of course—second-hand book stores exist for a reason—but I feel like the last vestige of the generation for whom physical books meant something. That’s my hang-up, though: my inability to adapt to the prevailing culture.
On the flip side, as an artist, not a lot about the creation of work has changed: no matter the tools you use, the basic building blocks of creation are as they have always been—the tenets of storytelling still require you to connect with your audience, to gain their belief and participation, and to deliver a satisfying narrative. Everything else—the means by which you do so, the cultural markers and milestones you incorporate, the way you deliver the product– is just adaptation, which should be part of the basic artist toolkit anyway.
Selene – If you weren’t writing, what would you be doing?
Lee – I’d be suicidal in the Public Service. When my writing career really kicked off, I was working for the Tax Office, having been shunted there after a disastrous spell in the Child Support Agency, which is the most toxic environment in which I’ve ever worked. I was deeply miserable, and essentially giving in to depression. My arts work, largely based around my writing, was the key to escaping that atmosphere: I was able to get a job in arts administration, and escape. If not for that, I’d probably still be there, and I would be absolutely radioactive as a person.
Selene – What advice would you give an aspiring writer, or one who’s just starting now?
Lee – Diversify. Don’t think of yourself as a writer in a lineal sense. Don’t constrain yourself to one genre, or one form of expression. I started out as a poet, am best known for horror and dark fantasy, and find myself working in children’s books at the moment…. with side-quests in stand-up comedy, cartooning, legislative writing, reviews, theatre, and more. Everything I’ve done along the way has given me a new set of skills to draw upon. The bigger your arsenal, the more you’ll have to use when the time comes. Don’t fall into the trap of limiting your experiences, your skill set, and your opportunities, by allowing the publishing industry to dictate what kind of an artist you are.
Selene – Is there anything else you’d like to talk about here?
Lee – I’ve always felt that art should never be comfort food. Even horror has its comfort zones, its warm snuggly blankets, and its banalities. But art should be a guerrilla enterprise—it’s our job, as artists, to question the status quo; to undermine it if necessary. Art should always throw the beliefs and acceptances of the audience into question. It should always discomfit. Write all the happy books about how great grandmothers are that you want. You may even sell them and make some money. But you won’t be remembered. Art is subversion, and we need be strong enough to continue to subvert wherever and whenever we can.
Deadline: December 15th, 2017
Payment: $0.02 cent a word paid on publication + shared royalties.
B Cubed Press is accepting short story submissions for “After the Orange,” an original science fiction and fantasy anthology about the post-Trump world.
The Trump Presidency has come and gone. Has this invoked the Trump Dynasty or has it spawned a return to core values, a hedonistic paradise or what? Truly, what does the future, the post Trump future hold?
What We Want:
We are looking for near- or farther-future stories, society as it is AFTER 2032 – at least two presidential election cycles after Donald Trump’s last eligibility. Show us America or the world in a new era, or look at world politics changed by the actions of US policies and people. Or go beyond.
Stories may present an optimistic or pessimistic, utopian or apocalyptic visions of the future, with some clear connection to current events and the world as it is in 2017. Political shenanigans would be interesting, as well as romance, spooks, robots and evil overlords, satire or parodies. But remember, the world has moved on. The editors generally favor character- and/or plot-driven stories.
Deadline: February 1st, 2018
Payment: 1/2 cent per word and one contributor’s copy.
We’re looking for excellent general audience furry stories on the theme “RESISTANCE.” If you have an excellent story, but you’re not sure it fits the theme, give it a try. We can be generous in how we interpret “resistance,” but all stories must be furry. That means an anthropomorphic animal figure should be significantly featured in your story — it could be anthropomorphic in body or only intelligence. We’ll consider any type of furry fiction from secret life of animals to fox in Starbucks — as long as it’s excellent. Though, the editor does have a preference for stories where the animal nature of the characters matters — if the reader can’t even remember the species of the characters by the end of the story, then that’s not a good sign.
We are interested in underrepresented voices. If you have personal experience relevant to your story, feel free to mention it in your cover letter. For instance, if your story is about a space unicorn and you are a space unicorn (or a research biologist who studies space unicorns), let us know. We are not interested in stories that involve rape in any way.
Please send submissions as an attached .doc, .docx, or .rtf file in Standard Manuscript Format to ROARanthology(at)gmail.com with a subject line that reads: SUBMISSION: “Story Title” – word count. (For an example of Standard Manuscript Format, see this essay by William Shunn. For help with writing a cover letter, check out this excellent advice from Strange Horizons.)
Length — Between 2,000 and 18,000 words. Query if longer or shorter. We tend to prefer stories between 4,000 and 12,000 words.
Multiple submissions — Keep it reasonable; two or three stories at a time is probably okay; ten isn’t.
Reprints — Yes, but include information about where the story was previously published. We’re more interested in stories that will be new to the majority of our audience.
Simultaneous submissions — No. If you send a story to us, please don’t send it anywhere else until you hear back from us.
Response time — Most final decisions won’t be made until after the deadline, but all stories should receive a response by March 1st.
Payment — 1/2 cent per word and one contributor’s copy.*
Deadline: November 14th, 2017
Payment: $500 and 25 contributors copies
What kinds of stories is One Story looking for?
One Story is seeking literary fiction. Because of our format, we can only accept stories between 3,000 and 8,000 words. They can be any style and on any subject as long as they are good. We are looking for stories that leave readers feeling satisfied and are strong enough to stand alone.
Does One Story pay?
Yes. One Story pays $500 and 25 contributors copies for First Serial North American rights. All rights will revert to the author following publication.
Does One Story accept previously published material?
No. One Story is looking for previously unpublished material. However, if a story has been published in printoutside of North America, it will be considered. Stories previously published online—on blogs, personal websites, online literary magazines, or forums—will not be accepted.
Does One Story accept simultaneous submissions?
Yes, but please notify us immediately if your submission is accepted for publication elsewhere.
What file types can I submit?
We accept PDF, RTF, and TXT files that are less than 500KB. Please include the story title and all writer contact info on the first page of the submitted file.
Will you send me comments on my story?
No. One Story receives close to 100 submissions each week. Please understand that we do not have time to comment on individual stories.
Can I change the story I submitted with an updated draft?
Do you consider translations?
Yes. Please include the name of the original author and language, as well as the name of the translator on the first page of your submission.
How do I submit to One Story?
We have an automated system for you to send us your work. It will securely send our editors your story and email you a confirmation that it has been received. To use the automated system, you need to have a One Story account.
If you have subscribed to One Story or One Teen Story, joined our mailing list, given One Story or One Teen Storyas a gift, or submitted a story to either magazine, you already have an account. If not, the first time you submit a story your account will be automatically created.
Using this account you will be able to check the status of your submission at any time by going to our login page.
We accept submissions from January 15th to May 31st and from September 1st to November 14th.
How soon can I expect to hear about my submission?
We do our very best to respond to submissions within 3 months after they are received. If you don’t hear back from us within that time, please be patient! It is our goal to make sure that each submission gets a good read.
Can I check the status of my submission?
You can check the status of your submissions at any time by logging into your account. “Received” means that we have your story and are considering it.
Can I submit the same story to One Story and One Teen Story?
No. One Story and One Teen Story are looking for different kinds of stories. For more information on submitting to One Teen Story, go here.
Deadline: September 29th, 2017
Payment: 6 cents per word
Note: A 2-for-1! I just found out about these listings and as the deadline is coming up I wanted to do a bonus post to get them before your eyes ASAP!
Continuing the success of our previous call for submissions, we’re looking for around twenty to thirty short stories by contemporary writers to complement a selection of classic tales in two new anthologies. We are keen to encourage new writers, without prejudice to age, background or previous publication history. It’s the story that matters, and the quality of writing.
Alien Invasion: Visitors from other planets have long obsessed us. H.G. Wells’ The War of the Worlds spawned a huge wave of speculative fiction but the roots of such fears run deep in our literature, where the mysteries of other cultures have long threatened the familiar and the comfortable. Did aliens build the ancient pyramids? Do they live amongst us today? What happens when they invade? Would it be an inevitable act of aggression, one of assistance and care, or simply a reminder of our paltry existence in a crowded universe?
Endless Apocalypse: Stories of the end of civilized life have always fascinated us, from the mythological world endings – Armageddon and Ragnarok – to the flood stories from across the Ancient world. They make us wonder what we would do if all around us came to an end – no transport, no fuel, no communications, a retreat into the desperation, the onslaught of disease – how would we survive?
Formal Call for Submissions (2017)
We are looking for new and recent short stories. We do not require exclusivity. You hold copyright, licensing us just for this publication. We don’t mind if your story has been previously published online or in print (though we do need to know publication and date). Simultaneous submissions are fine, but you must have the right to license your story in an anthology.
Word length is most likely to be successful at 2000–4000, but we will still read stories slightly outside this range.
The selection will be made by our group of life-long, in-house enthusiasts: Nick Wells (Publisher), Laura Bulbeck (Senior Editor) and Josie Mitchell, Gillian Whitaker and Cat Taylor. If required, the final selection will be mediated by our series editors. We try to keep everyone up-to-date as much as possible with occasional email updates.
A Word about the SFWA
To confirm, we became an SFWA qualifying market last year, so being published by us will help your status with them of course, but also with other readers and writers.
About Flame Tree Publishing
Now over 25 years old we started in 1992, covering a wide range of art and culture titles, with a strong vein of highly-illustrated Gothic and Fantasy books, notebooks and art calendars. Our Gothic Dreams books include Necronomicon, Steampunk, Dystopia, our large format titles Gothic Art, Fantasy Art and Dragon Art are sumptuous, and we publish gothic fiction reprints by Mary Shelley, H.G. Wells, Jules Verne, and more, in our Flame Tree 451 imprint. 2017 also sees the publication of a true labour of love: the all-new Astounding History of Science Fiction.
Our anthologies are designed to be read in print. They look and feel fantastic. You’ll feel proud to hand them to your friends, family, colleagues – so do send us your story!
Thank you, and good luck. We look forward to reading your tales of imagination.
Deadline: September 30th, 2017
Payment: Flash 500-2,000: New:$10.00 Reprint: $5.00 – Short 2,001-8,000: New:$20.00 Reprint: $10.00
What We Want
We are OPEN to regular submissions until September 30, 2017.
Unless specified otherwise, we’re looking for stories that are:
500-8,000 words long.
Arguably mad science related.
The mad science is negotiable. The rest is not.
We are strongly biased towards science fiction, fantasy, and horror. We are also committed to publishing work by authors belonging to marginalized groups. If you are LGBTQ, a person of color, or belong to some other group that is underrepresented in the genre, we really want to hear from you.
When it comes to “first person,” this can includes fictional newspaper articles, press releases, brochures, etc. We’re also happy to consider reprints and more than one submission at a time.
Do not send us poetry, screenplays, stories that are being considered by another market (also known as simultaneous submissions), or long winded ramblings from disgruntled mad scientists without any plot.
We currently only open for submissions one month at a time. Sometimes we will hold a story until the end of that period before deciding. If you haven’t heard from us within a month of our submission period closing, send us an email.
Stories will require a fictional identity for the narrator, with a bio. Authors will still be credited under their own name as follows:
Title of Your Story
An essay by [fictional narrator], as provided by [your name].
We will send a contract for esignature. For new stories, we will ask for exclusive first worldwide electronic and print rights for one year and nonexclusive rights afterwards. For reprints, we will ask for nonexclusive reprinting rights.
Payment is based on story length and whether or not it’s new.
Our contract says we’ll pay before it appears in the book, but we aim to send payment within a few weeks of receiving your contract.
Please Be Aware
Most publications will not reprint fiction that has appeared in online or print format elsewhere. By selling to a token paying market, you are limiting your ability to make more money off of your fiction. It is up to you, the author, to decide whether you want to give up First Publishing Right for token payment.