Our magazine is an SFWA-certified professional market.
Editor-in-Chief: Jason Sizemore
Managing Editor: Lesley Conner
Original Short Fiction:
1) Submit your work in Shunn Standard Manuscript Format.
2) Maximum word length is a firm 7,500 words. Anything more will be auto-rejected.
3) Payment for original fiction is $.06 per word up to 7,500 words.
4) If we podcast your story, payment is $.01 per word up to 7,500 words.
5) Apex Magazine welcomes and encourages submissions from writers of all race, color, religion (creed), gender, gender expression, age, national origin (ancestry), disability, marital status, sexual orientation, and military status, in any of its activities or operations. We want diverse voices. We value diverse voices. Having said that, please be aware that we do not collect any information that might clue our editors to any of these attributes other than your name, email, and address prior to any decisions made regarding your submission.
We do not accept unsolicited reprints.
1) Your poem must be 200 lines or less.
2) Your poem must be original and unpublished.
3) Poets can submit up to 5 poems at a time. However, please submit each poem in a separate email.
4) Payment is 25 cents per line.
5) Poetry editor Bianca Spriggs provides some tips regarding the type of work she is seeking in this blog post. Reading it is probably a good idea. 🙂
Rights and Rules:
No simultaneous submissions. No multi-submissions. We try to respond to all submissions within 30 days.
Before you submit your work, please review the appropriate contract template. If we accept your work, we will expect you to be familiar with our terms. Thanks!
Payment: Fiction: 2 cents per word, minimum $10 usd, Audio Bonus: Authors whose works are selected for audio publication will receive an additional 1 cent per word, with a minimum of $10 US, payable on publication
Lakeside Circus publishes very short fiction in several formats, as well as non-fiction essays exploring speculative literature and genre.
We want speculative fiction, particularly science fiction (hard, soft, near-future, etc), urban fantasy, magic realism, mad science, and apocalypse tales. Whether prose or poetry, we’re looking for the same kind of almost-weird fiction we publish in our anthologies. We like fiction with layers of meaning; stories that are odd or different without being too strange to understand. We enjoy interstitial, genre-bending, and “literary SF/F” writing. Your work has to encapsulate a complete moment; more than a vignette, each submission must have a beginning, middle, and end. Something has to change along the way, but parts of the story can happen off stage. As always, we want beautiful, dark, unusual, and meaningful.
We rarely like sword and sorcery type fantasy, aren’t interested in “slasher” type horror, don’t care for religious themes (which includes demons/the devil) as the sole plot of the story, and please! Do not send us a romance, no matter what setting it is in, as that just wastes your time and ours.
We encourage diversity in publishing: authors are chosen regardless of sex, gender, race or ethnicity. Non-US authors, or authors who usually work in a different genre, are also welcome.
DO NOT PUT YOUR NAME/ADDRESS INFORMATION IN THE SUBMITTED FILE ITSELF. USE THE ONLINE FORM TO SUBMIT YOUR PERSONAL INFORMATION. We use a blind submissions process and the only way to make that work is if the story/poem doesn’t have your name on it.
Flash: Stories of less than 1,000 words. Must have a beginning, middle, and end, even if some of that happens outside of the story (as long as we can imagine what that is). No vignettes. Submit here
Short Fiction: Stories of 1,001 to 2,500 words. Top word count limit is firm. Submit here
Poetry: Any length. We want lyrical work, lovely word choices; bonus points for interesting forms (hainteny, thanbauk, cobla esparsa, carmen, or villanelle… surprise us!). We’re not big fans of prose poetry–the work has to read like poetry, not a short story with line breaks in it. Speculative elements have to be identifiable, but otherwise the range is anything from hard SF to genre-bending, interstitial, magic realism. Submit here
We are looking for short essays which would appeal to readers of SFF, horror, interstitial, surrealist, and slipstream fiction which has a literary bent. Your writing must be intelligent but clear; assume that our readers are smart and well-read, and don’t talk down to them. At the same time, we don’t want you to render your writing unintelligible by filling it full of sesquipedalian words and obscure references. The goal of this type of writing is communication of ideas, after all.
We want to see discussions of:
Literary history as it applies to SFF
How SFF writers who influence us now were influenced by non-genre writers
Correlation between genre and other branches of literary fiction
Relationships with non-genre media and creators
SFF poetry themes and forms
Anti-colonialism and anti-racism in speculative literature
Viewing gender, sexuality, race, disability, and Othering through an SFF lens
… Especially if your topic is one you’ve presented at a genre, literary, or academic conference. Annotations and references expected. If your article could appear on Buzzfeed or Cracked, it’s not for us.
We are not interested in reviews, interviews, or reprints. We publish only original work.
We are open to either finished (written, reviewed, revised, and complete) essays of up to 3,000 words, or pitches for a future essay. Pitches must be under 500 words – please do not send a rough draft of an essay and call it a pitch. If you’d like to convince us to print a longer essay in segments over multiple issues, write up a pitch and send that. Do no submit work of longer than 3,000 words for any reason.
Submit only one work in each category at a time (though, please note, we will only publish one piece by you in each issue, so send your favorite piece first). Do not include multiple works in the same submission.
We publish only original works; please, no reprints. (Posted for free on your website is considered “previously published”.)
Submissions should be in standard manuscript format.
a. The Author hereby grants the Publisher First Worldwide English-language digital rights (permission to include the Work in Lakeside Circus, for digital publication in the English language in all countries throughout the world, in online and ebook formats).
b. The Author hereby grants the Publisher the right to non-exclusively archive the Work online as long as the Publisher maintains the Lakeside Circus website. The Author has the right to request that the Work be removed from the online archive after (12) twelve months from the date of publication on the website, provided that the request is made in writing.
c. The Author agrees not to publish or permit others to publish the Work in any form prior to its publication inLakeside Circus AND for a period of (3) three months after the publication of Lakeside Circus on the website, without the prior written permission of the Publisher. If the Work is selected for a “best of the year” anthology, the Publisher agrees to waive this clause, provided the Author gives the Publisher prior written notice of the selection by such an anthology.
d. The Author hereby grants the Publisher non-exclusive worldwide English Anthology rights to republish the Work or cause the Work to be republished in any book or anthology consisting of material at least 80% of which previously appeared in Lakeside Circus, and which includes works by more than three contributors. Publication in this anthology is not guaranteed, and Works chosen for the anthology will receive additional payment (see below). Authors may withdraw their Work from the anthology if their refusal is given in writing within 30 days of being notified of acceptance in the anthology.
e. All rights not specifically covered by this contract are retained by the Author.
f. Work bought must be published within one year, or all rights revert to the author.
FICTION: Lakeside Circus pays 2 cents per word (fiction or non-fiction), with a minimum of $10 US, payable within 30 days of publication. In addition, Authors will receive a four issue digital subscription to the magazine.
NONFICTION: Lakeside Circus pays 1 cent per word (fiction or non-fiction), with a minimum of $10 US, payable within 30 days of publication. In addition, Authors will receive a four issue digital subscription to the magazine.
AUDIO: Authors whose works are selected for audio publication will receive an additional 1 cent per word, with a minimum of $10 US, payable on publication. Combined with the digital publication payment, that equals 3 cents per word with a $20 minimum payment.
Authors whose works are selected for an anthology will receive an additional payment of $10 US within 30 days of the anthology publication, as well as a print contributor copy.
You can find our entire contract HERE (last update 2/01/2015).
Payment: $0.06 per word for original fiction; $0.03 per word for reprints
Note: Obviously your horror here will require a large science fiction slant
Escape Pod publishes in both text and audio; you are offering both of those one-time and archival rights to us when you send us your story. Escape Pod is a science fiction market. Our mandate is fun. We are fairly flexible on what counts as “science” (as we’ll delve into superheroes or steampunk on occasion) and are interested in exploring the range of the genre, but we are not looking for fantasy, magical realism, or more than a tinge of horror. If your story isn’t centered on science, technology, future projections, alternate history, and how any or all of these things intersect with people, we’re probably not the right market for it.
Diversity: Escape Pod welcomes submissions from writers of all backgrounds. We are especially interested in seeing more submissions from people of backgrounds that have been historically underrepresented or excluded from traditional SF publishing, including, but not limited to, women, people of color, LGBTQ or non-binary gender people, persons with disabilities, members of religious minorities, and people from outside the United States. Our goal is to publish science fiction that reflects the diversity of the human race, so we strongly encourage submissions from these or any other underrepresented groups.
Wordcount: 2000-6000 words (firm)
We publish short-form fiction more or less exclusively. We are not interested in flash fiction, poetry, serialized fiction, or novel excerpts. As with other genres, we support their existence, but they’re not what we do.
Payment: $0.06 per word for original fiction; $0.03 per word for reprints
We are an SFWA qualifying market for original fiction and pay professional rates.
Format: Paste your story in plaintext into the body of an e-mail and send it to us with the subject line “Fiction Submission: [TITLE].” (This will help avoid overzealous spamcatchers.) Include a short note with your name, an address where you can be contacted/paid, the story’s title and wordcount, and (if it is a reprint) any venues where it has previously appeared.
Where to Send: submit AT escapepod DOT org
See you there!
Pseudopod is always looking for quality fiction to feed our listeners. If you’re a writer with a short horror story that you’d like to hear narrated by one of our talented performers, we’d like to see it. Probably. You can send it to us through our submittable portal.
What We Want
Pseudopod is a genre magazine in audio form. We’re looking for horror: dark, weird fiction. We run the spectrum from grim realism or crime drama, to magic-realism, to blatantly supernatural dark fantasy. We publish highly literary stories reminiscent of Poe or Lovecraft as well as vulgar shock-value pulp fiction. We don’t split hairs about genre definitions, and we do not observe any taboos about what kind of content can appear in our stories. Originality demands that you’re better off avoiding vampires, zombies, and other recognizable horror tropes unless you have put a very unique spin on them. What matters most is that the stories are dark and compelling.
Since we’re an audio magazine, our audience can’t skim past the boring parts, so stories with beautiful language at the expense of plot don’t translate well. We’re looking for fiction with strong pacing, well-defined characters, engaging dialogue, and clear action. It can be beautiful too, if you’ve got all those other bases covered.
Dark humor is just fine, and we run it on occasion; but we are more interested in tragedy than comedy, and comedy is better received the more sick and morbid it is. Above all, we want stories that make us think, that stick with us, that make us catch ourselves checking the locks a second time before bed.
Holiday-themed stories (regardless of which holiday) are ideally submitted six months prior to the holiday in question. The same guideline applies if you have a book coming out soon and want to publish a short story with us to coincide with its release, and we’re always happy to delay publishing if the resulting timing is better for author promotion. (Although for a sure bet, you can always just grease our palms with a sponsorship several months beforehand — contact [email protected])
Pseudopod welcomes submissions from writers of all backgrounds. We are especially interested in seeing more submissions from people of backgrounds that have been historically underrepresented or excluded from traditional publishing, including, but not limited to, women, people of color, LGBTQ or non-binary gender people, persons with disabilities, members of religious minorities, and people from outside the United States. Our goal is to publish horror that reflects the diversity of the human race, so we strongly encourage submissions from these or any other underrepresented groups.
Payment and Rights
We pay the pro rate of $.06/word for original fiction, $100 flat rate for short story reprints, and $20 flat rate for flash fiction reprints (stories below 1500 words).
PseudoPod buys nonexclusive audio rights, and nonexclusive electronic rights to distribute the audio file under a Creative Commons license.
Specifically, we use the Attribution-NonCommercial-NoDerivatives license. Briefly, this means that the entire world has permission to distribute the audio files for free, provided they give credit for it, don’t try to make money off of it, and don’t change it in any way. Transcribing it, extracting portions from it that exceed fair use, and mashing it up are all prohibited.
This license applies only to our audio performance of your work, for which we’ve contracted and paid you. It does not apply to your story itself; you retain your copyright and all rights to any other use of the story.
You can find samples of our contracts at the links below. Note that these are for informational purposes only, and upon acceptance all the relevant information will be completed by our managing editor:
We’re primarily interested in two lengths of fiction, which we’ve somewhat arbitrarily dubbed “short fiction” and “flash fiction”.
Short Fiction: This is the heart of our weekly podcast. We want short stories between about 1,500 and 6,000 words. The sweet spot is around 4,500 words which is close to 30 minutes of story.
Flash Fiction: We podcast, approximately quarterly, Flash on the Borderlands episodes that contain three flash stories with a common theme. Occasionally, we run short five-to-ten minute “bonus” pieces between our weekly main episodes. For this we’re looking at fiction under 1,500 words, with a sweet spot between 500 and 1000 words. Yes, that’s really really short. That’s the point. Our flash pieces are frequently quirkier and more experimental than our weekly features.
We do not discriminate between previously published and unpublished works. We’re an audio market, and we buy nonexclusive rights, so it doesn’t hurt us if a story has previously appeared in another market. If the text of the work is currently available online for free, that’s great! Let us know in your cover letter so we can link to it in the web post if we publish your story.
Multiple and Simultaneous Submissions
We do not accept multiple submissions; if you submit more than one story everything after the first will be rejected. Simultaneous submissions are acceptable. Please check the box on the submissions form to let us know that you are submitting this to multiple markets simultaneously.
The only exception to this is simultaneous submission of a single story to multiple Escape Artists podcasts (Escape Pod, PodCastle, and Pseudopod), which we ask that you avoid. When submitting to one Escape Artists podcast, please wait to hear back about it before submitting the same story to another.
In your cover letter, please include your legal name, byline (if different from your legal name), and the story’s approximate word count and publication history. If you have any previous publications, feel free to list the most recent three, but this is optional and won’t affect your story’s consideration.
Send us your story through our submittable portal. Once you’ve sent us your story, you will get an automated confirmation via email. Please query if you have not received this confirmation within 24 hours. After 60 days, if you haven’t received a response, feel free to query through Submittable or by email. Make sure to log your submission on the Grinder.
How We Want It
From: Edgar Allen Poe
Date: Dec 13, 1889
Title: The Pit and the Pendulum
I would like to submit my horror story "The Pit and the Pendulum" for
your podcast. My work has appeared in numerous online and print venues
including _The Norton Anthology of Literature_, the Project Gutenberg
Web site (http://www.gutenberg.org), and _The Simpsons Halloween
Special_. This particular work is in the public domain since it was first
published over a century ago, and all rights are available. It has
previously been adapted into a shockingly strange movie by Roger
Corman. Thank you for your time and consideration.
The Pit and the Pendulum
By Edgar Allen Poe
I was sick -- sick unto death with that long agony; and when they at
length unbound me, and I was permitted to sit, I felt that my senses
were leaving me. The sentence -- the dread sentence of death -- was the
last of distinct accentuation which reached my ears. After that, the
sound of the inquisitorial voices seemed merged in one dreamy
indeterminate hum. It conveyed to my soul the idea of _revolution_ --
perhaps from its association in fancy with the burr of a mill-wheel.
This only for a brief period; for presently I heard no more. [. . .]
(The rest of these guidelines are basically just legalese.)
By sending us your story you understand and agree that:
You are the original creator of the work submitted to us;
You are the copyright holder of the work;
You are not prohibited by any prior agreement from the transfer of non-exclusive electronic and audio rights to the work;
All information in the contact and cover sections of your email is accurate and truthful;
You accept sole responsibility for any false statements or encumbrances upon rights not disclosed to us.
If we buy your story we’ll send you a contract, and you’ll be bound to all of the above.
Oh, and in case you’re wondering whether you have audio rights to your stories: unless you’re doing work-for-hire for a game company, all reputable speculative fiction magazines of which we’re aware acquire serial print rights, often with non-exclusive electronic or anthology options. Some online markets may insist on electronic exclusivity for a certain period of time, and if so, you can’t publish it with us until after that period ends. However, we know of no regular short fiction market that contracts for exclusive audio rights. That doesn’t mean it can’t happen; always check your contracts.
What We Do With It
Once you’ve sent us your story, we will review it and respond to you via email in about two months. If it takes longer than that, please query.
If we decide we’d like it for our podcast, we’ll send you a contract as a PDF file in email. You will sign it and send it back to us either via email (after scanning it), fax, or postal mail. Then we’ll pay you via check or PayPal, whichever you indicated on the last page of the contract, and we’ll start producing.
During the production process we may contact you with questions about the story, its background, or pronunciations. We hope and expect that you’ll be available to help us, as a good performance makes all of us look good. Unfortunately, as everything we do is on a somewhat fluid schedule, we usually can’t give you an accurate timetable of when your story will appear in the podcast.
What the World Does With It
The audio files Pseudopod produces are released under a Creative Commons license. Specifically, we use the Attribution-NonCommercial-NoDerivatives 3.0 license. Briefly, this means that the entire world has permission to distribute the podcast for free, provided they give credit for it, don’t try to make money off of it, and don’t change it in any way. Transcribing it, extracting portions from it beyond fair use, and mashing it up are all prohibited. This license applies only to our audio performance of your work, for which we’ve contracted and paid you. It does not apply to your story itself; you retain your copyright and all rights to any other use of the story.
We’ve had some questions about this from the writing community, so we’d like to make our reasoning clear. We know that Creative Commons licensing is scary to many writers, and it’s certainly a radical break from traditional rights that expire after a period of time. Our take is this: when we create a podcast, we are putting an MP3 file on the Web. That MP3 file is going to get downloaded and copied onto thousands of hard drives, CDs, iPods, and other portable devices across the world. That’s the point. We want people to listen to it. But once you’ve done that, you can’t take that file back. There is no way to delete the file everywhere it exists. There are some highly fallible ways to lock things down, but DRM sucks, and even if we believed in it it’s too complicated for us to implement.
So from a purely practical perspective, we can’t make our content expire. And we can’t stop people from copying our files, nor should we. Given that reality, why not give our listeners the full legal right to do what’s totally natural for an audio file (copy it, share it with people, and listen to it whenever they want), but make equally clear to them what they can’t do (share the story outside the podcast, or alter it in any way at all)? That’s our reason for the Creative Commons license. We’re not trying to plant a philosophical flag in the ground here; we’re just trying to reflect reality.
We hope you’ll agree with our reasons and choose to share your story with us. If you don’t, then we’re deeply sorry, but we feel it’s better that you know this now, before you make the decision to submit.
If you have questions, comments, suggestions, or criticism (but not stories) send them to our staff at [email protected]. We’ll do our best to get back to you within a few days.
Thanks very much for your time, and we look forward to reading — and hopefully speaking — what you’ve got!
Payment: We currently offer 3 cents per word for stories 500- 4,000 words long. In some cases we will accept stories longer than 4,000 words but these cases are rare and usually for solicited stories.
The Drabblecast is a paying fiction market, an award-winning one, and befittingly choosy. There’s something specific we are looking for – that weird idea you have, that hilarious or disturbing scenario you’ve been brooding over. We like stories that are humorous, bizarre, gross, disturbing, badass, interesting and original.
What We Buy
Short Fiction – 500- 4,000 words
We Also Run
Drabbles – Exactly 100 words.
Twabbles – Exactly 100 characters.
Episode Art – See the Art page.
Multiple submissions?– YES (only up to 3 at a time please.)
Simultaneous submissions?– SURE. (Just let us know if someone else beats us to it.)
Reprints and Repods?– SWELL. Yes. We tell ‘em fresh.
We currently offer 3 cents per word for stories 500- 4,000 words long. In some cases we will accept stories longer than 4,000 words but these cases are rare and usually for solicited stories.
Stories under 500 words (including Drabbles and Twabbles) are published on a pro bono basis at this point, with attribution and a good plug opportunity.
Please include word count and bio information along with your story in the body of the email. It makes our lives much easier! Don’t worry about what the font and format look when you paste it into the email– it’s all good, we promise.
We get a LOT of stories submitted, so response time is currently around 3 – 4 months (sorry!) All submissions are responded to. Might be a form rejection (sorry again!) Please hit us up if you haven’t heard from us after 4 months and include your story in the email. It will get immediate priority consideration if we let it slip through the cracks.
Drabblecast purchases limited one-time, non-exclusive rights to audio only. You retain all other rights to your story.