FIYAH is a quarterly speculative fiction magazine that features stories by and about Black people of the African Diaspora. This definition is globally inclusive (Black anywhere in the world) and also applies to mixed/biracial and Afro-appended people regardless of gender identity or orientation.
We will be open to unthemed submissions Oct 1 – Dec 31.
We will be open for “Joy” themed submissions Spring 2020.
We accept submissions of short fiction 2,000 – 7,000 words and novelettes up to 15,000 words.
We are looking for brave works of speculative short fiction by authors from the African continent and diaspora that reject regressive ideas of blackness, respectability politics, and stereotype. Please submit your bravest, blackest, most difficult to sell stories to us. We want to read them.
We want stories that are well written, of high quality, and generally easy to read on a screen.
We are open to receiving stories around many themes, but we will immediately reject stories that feature any of the following:
Graphic depictions of rape or sexual assault
Needless brutalization of women and children
Depictions of brutalization or abuse of people with disabilities
Graphic abuse of animals
We only consider unpublished work, and we do not consider reprints (work that has been published in another magazine or on your blog or other social media) or fan fiction.
We do not accept multiple submissions, so please wait until you have heard a response to a submission before submitting again.
We do not accept simultaneous submissions.
Please do not resubmit previously rejected stories in a new submission period. Resubmissions are by editorial solicitation only.
We are only accepting submission from authors from the African diaspora and the African continent because #BlackWritersMatter. This is an intersectional definition of Blackness, and we strongly encourage submissions from women, members of the LGBTQIA community, and members from other underrepresented communities within the African diaspora.
What we want in speculative poetry is verse that struggles, reveals, instructs, comforts, and fights back. We are looking for weird, complex, honest and challenging work with a clear speculative element from Black authors. You can check out this post from our Poetry Editor for more on what we’d like to see in your poetry.
FIYAH opens for one month every summer to acquire cover artists for the following publication year. In keeping with our mission, we prioritize Black creators as the face and content of our magazine.
Beginning with submissions for the 2020 publication year, we are using a simple form to collect submissions for prose and poetry. We understand the use of a form may not be accessible to disabled users. If you require an alternative means of submission for your work, please contact us at team[@]fiyahlitmag.com and we will arrange one for you.
Click here to learn more about how to write a professional cover letter.
Submissions should be submitted in proper short story manuscript format with your name, address, email address, and the story’s total word count on the first page. Click here for an example of proper short story manuscript format.
For poetry, you may submit up to four (4) separate poems, but they must all be in a single document. This is a change from our previous submission guidelines, so please make sure you’re up to date.
Payment + Rights
Our payment schedule is as follows:
Short stories (2,000 – 7,000 words): $150 USD
Novelettes (<15,000 words): $300 USD
Poetry: $50 USD
FIYAH will publish accepted stories in a quarterly ebook magazine format, as well as archiving them on our website. Thus, FIYAH will claim first world electronic rights, nonexclusive archival rights, and nonexclusive anthology rights to your story.
This means that we are buying the rights to publish your story on FIYAH’s website and in electronic issues of our magazine. This also means that you can only publish your story as a reprint after it appears in FIYAH, and it cannot appear anywhere else online or in print prior to submission, or for 180 days after we publish it. After that it can be reprinted online, in a magazine, or in an anthology.
Response time will vary by volume of submissions. You may query after 45 days using email submissions[at]fiyahlitmag.com. Please include the date that you submitted and the title of your story.
Deadline: January 15th, 2020
Payment: Contributor’s Copy
Submissions for our 2020 Brave New Girls anthology are now open! We’re looking for volunteer authors willing to contribute their stories pro bono to this charity venture (proceeds from sales of all our anthologies are donated to the Society of Women Engineers scholarship fund). We understand if this isn’t for everyone! We’re working on a shoestring budget (still stretching dollars from our initial crowdfunding campaign in 2014), with our editors donating their time and resources to keep this series going.
The deadline for submissions is January 15, 2020. The criteria are that stories must be:
About a teen girl (14-18) with an interest in STEM (science, technology, engineering, or math)
Geared toward a tween/teen audience (10-18)
PG in content, as many of our readers are very young, and we want parents/guardians/family friends to be comfortable giving these books to the children in their lives. No graphic sex (“sweet” romance with kissing and hand holding and such is fine), no graphic violence (bloodless comic-book-movie-style violence is fine), no swearing (biblical curse words, i.e. “hell” or “damn”, and made-up sci-fi cursing, e.g. “frak” or “gorram”, are fine)
In the sci-fi category. We’re open to any and all sub-genres (space opera, contemporary with speculative tech, historical with speculative tech, dystopia, cyberpunk, steampunk, solarpunk, dieselpunk, biopunk, silkpunk… all the punks)
Between 2,500 and 10,000 words in length
Standalone (no cliffhangers — our readers don’t seem to like them)
We strive to be as inclusive as possible and encourage authors and characters from the whole range of human backgrounds, across race, ethnicity, sexuality, gender identity, religion, national origin, ability, socioeconomic status, and more.
Stories can be related to an existing world that you have the rights to (e.g. a spinoff to your novel), but must work independently so a new reader can come in with no background about the world and still understand what’s going on.
Each story selected will be accompanied by an illustration, and each contributing author will receive a complimentary paperback of the anthology, which will be released July 2020.
Deadline: January 31st, 2020
Payment: $130 and 2 contributor’s copies
I’m seeking all-new true crime stories for THE BEST NEW TRUE CRIME STORIES: SMALL TOWNS (to be published by Mango Publishing Group USA)
Subject: True crime in small towns
What I’m looking for:
Well-developed thoughtful non-fiction content that offers readers more than dry reportage. Known, lesser known and obscure cases are welcome. Add something new to the discussion, a different viewpoint or angle. First-person accounts are especially welcome from writers with some connection to the crimes. Stories can take place anywhere in the world and during any time frame. Material must be meticulously fact-checked before submission, including dates, names, locations etc. No reprints accepted.
Word count: 4,000-7,000 words
One-time payment per story: USD $130, and 2 print copies of the book.
Contributor fees paid approximately 1 month after publication. (Preferred payment method: PayPal.)
For: Non-exclusive rights with one-year’s exclusivity from date of publication.
Deadline for submissions: Jan 31, 2020
Note that I’ll be selecting material on an on-going basis. Writers are strongly encouraged to submit their stories in advance of the deadline date.
Contact me with suggestions/queries at: TheBestNewTrueCrimeStories @ gmail.com
Format: double-spaced Arial 12-point Word document (sent as attachment). Do not indent paragraphs; instead enter one space between them. No irregular spacing between words or sentences. No footnotes or endnotes. If you wish to include a bibliography (optional), please use Chicago Manual of Style. American spelling and punctuation (i.e. double quote marks, etc.). Include your legal name, postal address, and an author bio of 50-100 words written in the third person. No simultaneous submissions please.
In the subject line of your email: True Crime submission.
If you don’t receive an acknowledgement within a week of submitting your material, definitely follow up!
(For non-US-based writers, editor is not responsible for payment of VAT, if applicable.)
Mitzi Szereto (mitziszereto.com) is an author and anthology editor whose books encompass true crime and crime fiction, gothic fiction, cozy mystery, satire, parody, horror, sci-fi/fantasy, paranormal romance, erotic fiction, and general fiction and non-fiction. Her new book The Best New True Crime Stories: Serial Killers will be published in November 2019. Follow her on Twitter @mitziszereto
Deadline: October 25th, 2019
Payment: $0.0125 per word
Look, we know that these guidelines are bit long, but we strongly recommend you read them all the way through.
Submissions are open: Oct 14th-25, 2019.
What are you looking for?
Original short stories between 2000-7500 words.
Cirsova pays $0.0125 per word for first publication/serialization rights and 6 months of exclusivity following publication of the piece.
Submissions should be in finished, final draft form. Please do not send unedited works, excerpts or pitches. Well, you can send me a pitch, and if it sounds awesome, I will tell you “That sounds awesome, now write that story, make sure it’s edited, and submit that to me”, but that’s it.
Please send the file as a .doc or .docx or, if you must, a RTF. Your manuscript should match the standard manuscript format (i.e. double spaced, no hyphen breaks, page numbers somewhere, don’t use tab for indents, etc.) A lot of those things that seem unnecessary or piddly are actually really helpful for folks who are trying to markup your manuscript and get your text into a formatted document.
Please be sure to include your address on your manuscript; this helps us know where to send checks and contributor copies.
Cirsova does not buy reprints at this time.
What we are looking for:
Sword & Planet
Raymond Chandler But In Space
Weird Fantasy, Science Fiction, and Horror
South Seas Adventure
Monstergirls (but keep em classy!) and other dames
Before submitting, we highly recommend reading, or having read at least some of the following authors:
Edgar Rice Burroughs
Thomas Burnett Swann
Otis Adelbert Kline
Gardner F. Fox
Clifford D. Simak
Raymond F. Jones
Robert E. Howard
*Lovecraft is a special case; having read and understood what makes his stuff work helps, but Lovecraft fanfic gets auto-disqualified as soon as we see a Mythos heavy or MacGuffin get name-dropped. See our Eldritch Earth issue for how we like ’em.
What are you not looking for?
Any “Lovecraftian” fiction that name drops Cthulhu, Nyarlathotep, Arkham, the Necronomicon, etc. We managed to publish an entire Lovecraft issue where none of the stories name dropped Mythos heavies, so it’s not hard as you’d think. We’re also not looking for Call of Cthulhu detective/professor-investigates-cultists stories.
Stories with elves; especially not D&D or Tolkien elves. If you think you can do something really freaking special with elves and fae, like Dunsany or Swann, give it a shot, but we don’t publish elf-stories as a general rule.
Stories where very little happens or very little is at stake. Sometimes, a setting and characters in them can be superficially weird and exciting, but the story itself may be little more than a conversation; generally, we’re not looking for that sort of thing.
Tolkienian or Tolkien-esque Epic Fantasy
Steampunk, unless you’re a fan of the first two Thief games
Obviously D&D inspired fiction [certainly no “Drow”]
Asimovian sci-fi where thinky men do nothing but sit around and discuss big thinks
My story is longer than 7,500 words, can I still submit it?
Sure! While 5,000 to 7,500 is kind of the sweet spot, for really good stories, I’d consider anything up to 10,000, maybe a little more. It’s sort of a case by case thing. Just be aware that chances are I will only be able to purchase one Novella or Novelette per issue.
I have serial I’d like to publish; can I submit that?
I’ve decided that I’m not a fan of serializations in magazines. I’d rather my readers have complete stories, and since Cirsova is Semi-Annual at present, I wouldn’t want authors or readers either one to suffer from the 6 month delay. Linked stories that tell the continuing adventures of this or that character are another matter entirely. Just try to be sure that the stories are able to stand well enough on their own.
But what about My Name is John Carter? You’re serializing that!
That’s a special case. Also, we’re not looking for unsolicited poetry; again, My Name is John Carter is a special case.
Can I put steamy-hot action in my story?
I’m not looking for explicitly erotic stories, but it’s not a deal-breaker. It probably shouldn’t make up more than a few lines to a paragraph or two in anything this short if you do include it. In terms of how explicit you can get without hurting your chances of being accepted, consider the upper boundary to be Andrew J. Offutt (at least what he published under his own name) or Thomas Burnett Swann. If you have something that looks like Jean Auel wrote it for one of her Earth’s Children sequels, you’ve crossed a line and should probably reconsider more than just your submission.
What rights are you buying?
Global first print and digital publication rights (including audio); you’ll be giving Cirsova the exclusive rights to publish and use the purchased material prior to and for six months following the publication of those materials. After that period, Cirsova will retain the right to publish and sell the purchased materials non-exclusively in the collected format (i.e. the anthology will remain available in print and electronic format as initially offered, however the materials will not be repackaged and resold). Cirsova will have the right to use your name and portion or whole of the material to promote the work. During the period of exclusivity, you agree to refrain from publishing the purchased material in whole or in part without prior consent. The exception to this exclusivity is if a piece is selected for inclusion in a Best of the Year collection or as a part of an awards packet.
Do you take simultaneous submissions?
Unfortunately, we cannot take simultaneous submissions.
Can we take multiple submissions?
We prefer not to, though we will make an exception if you have been published with Cirsova before and/or we have discussed/made special arrangements.
Would I need to copyright the story before submitting it?
No, you would not. The text of your story already belongs to you, and the copyright is given to the respective authors enacted upon publishing.
Who would have rights to it?
You would own and have rights to your story while allowing Cirsova limited rights outlined in our agreement; the rights allowed to Cirsova are what let us publish your work and keep it in print. You retain all rights to the intellectual property [Cirsova does not own the characters, stories, settings, etc.; it only publishes them].
Would the story be “work-for-hire”?
Work-for-hire generally suggests that the paying party would own the work and IP, so no, it would not be considered work-for-hire.
“Cirsova will retain the right to publish and sell the purchased materials non-exclusively in the collected format (i.e. the anthology will remain available in print and electronic format as initially offered, however the materials will not be repackaged and resold). ” what exactly does this mean?
Cirsova Publishing will keep the issue containing your story in print via Print on Demand and available digitally as an eBook on various platforms. Cirsova Publishing will not sell your story individually or as part of a different anthology without prior arrangements with the author. While Cirsova will keep the collection featuring your story in print, after our exclusivity period has ended, you will be able to resell the story to another outlet or publish it independently. Several Cirsova Authors have resold their stories to Starship Sofa [a podcast that produces audio versions of short SFF] and/or released anthologies of their works containing stories previously published in Cirsova.
If my story were to be accepted by your magazine, in what ways would I be allowed to advertise and market/publicize it? Sharing links to it online, adding it to my resume, and things like that.
Yes, absolutely, all of those things. We do not require authors to promote the issue that features their story, but we always appreciate it when they do.
How would payment work? Would I only be paid that one time after it is accepted? Are there royalties?
Payment is made upon acceptance, and the author’s acceptance of payment constitutes agreeing to the terms set forth in the offer we send to authors. Payment is made either by Paypal or by Check. Payments generally range between $30 and $125 based on the length of a work [payment is approximately .0125 per word] Cirsova Publishing does not pay royalties for stories published in its magazine.
Where do I send my story?
Submissions should be sent to cirsova at yahoo dot com with the subject line “SUBMISSION”
The nights are definitely drawing in now and the days are flying by, bringing with it a wish that we humans could hibernate. All I seem to want to do is sleep – and unfortunately that is what happened to me when I put the latest Stephen King/Joe Hill offering from Netflix, In the Tall Grass. I’ve not read the story and the preview made me want to watch it but sadly that was not to be. I might try again but have a horrible feeling history will repeat. Comments on FB re the film appear to be mixed. I don’t know what anyone here thinks of it.
This weekend I will be accompanying my eldest daughter to visit the Monty Python 50th anniversary exhibition at the BFI in London but she also threw in a ‘by the way, do you mind if we go to Foyles bookshop.’ Do I mind? Do I mind? It’s their flagship store and I’ve always wanted to go. If I go in, will I ever leave, is more to the point!
Publication news this week comes from Justin Boote (he who triggered the original idea for our Unholy Trinity) with the release of his charity anthology A Discovery of Writers: short stories from around the world. Contributing writers include TWF alumni, Justin (obviously), Wendy Pearson, David Rae and Ryan Benson. Stories are a range of genres but with plenty of speculative fiction to satisfy TWF reader tastes. You can buy it on amazon here … and I’m sure they’d appreciate a review or two.
Now to Trembling With Fear which starts this week with The Thing on the Mountain by Billy Lyons. Counting flies sounds a bit like Sisyphus pushing a boulder up the mountain only to have it roll back down, although in Nancy’s case it’s to almost get there only for the insects to fly away. A thankless task but one which appears to allow her not to dwell on her situation. Much as the apparent treat of a McDonald’s takeaway also does. Hints of tragedy start to weave their way in half-way through the story, touching moments of closeness between brother and sister coupled with the knowledge that perhaps a big brother can’t be the protector they want to be. So much is shown here, normal banter between siblings, casual discussions of the merits of French fries, the colour of ribbon but with a couple of sentences towards the end you know all is not as it seems. The little things, the minutiae of life are used powerfully. Terrific writing.
Buttons by Alyson Faye brings horror in the form of a garment and a story which reminds me of Bluebeard. A drabble of a fairy tale a la Perrault. Retellings of those old stories of Grimm, Perrault and others would be a great challenge for a drabble.
Five by Patrick Winters gives us a window into a brain in decay. What are the last thoughts any of us would have?
Losing a Monster by Radar DeBoard is a story of absorption or ‘becoming’. A sense of calmness drifts over the writing, an acceptance of what is coming, the mood so at odds with the final result. I really liked the way this mood washed over everything.
Thank you to all, for writing and submitting to TWF.
Editor, Trembling With Fear
I hope everyone is having a great weekend!
We’re still fighting the good fight against site issues, but on the plus side, our first payments for Trembling With Fear for the upcoming year have gone out! Exciting news! (A personal thank you to the authors who have passed on payments to have them donated to the site instead.)
I’d like to send out another huge thanks as well. This one to Steph for formatting the post this week. I’ve got some things going on which are keeping me busy this week so the extra help is going a long way!
As always, we’re looking for more drabble. That being said, we could also use an influx of Unholy Trinity and serials as well!
Editor, Horror Tree
The Thing on the Mountain by Billy Lyons
Nancy sat alone in the kitchen, counting flies. To win, she had to count each fly on the opposite wall before one joined the group, or flew away. It wasn’t easy. Since every door and window in the house had been open since daybreak, there was no shortage of flies. Big flies, little flies, black flies, green flies. Flies coming in, flies going out. Even if it was possible to get a good head start on the count, it was just as likely they would all blend in with the winter’s worth of soot that had leaked onto the wall, making it impossible to distinguish one fly from five. On top of everything else was the unbearable heat and stickiness. Even in Appalachia, mid-summer weather could be intense.
“Six, seven…” Nancy sat still as a mouse, counting to herself and digging her nails into her palms until they hurt. Only four more to go. “Eight…nine…” She knew she was holding her breath, but didn’t dare exhale. The tiniest movement, even to breathe, might cause fly traffic, and she was so close, closer than close. It wasn’t until she got to the tenth one that she finally allowed herself the smallest of smiles. I’m going to make it, she thought, butbefore she could open her mouth to count fly number thirteen the fattest one of the bunch (second from the top) took off out the window, buzzing in contempt as it went.
“Lost again, didn’t you?” David asked, as he lumbered in.
“You know I did,” Nancy grumbled, trying hard not to stare at the bag in David’s hand.
“Well, it’s a stupid game anyway. How many times have I told you that already? Five, ten, twenty?”
“Zero. Just like you. Z-E-R-O. As a matter of fact, that’s your name from now on. Big Brother Zero.”
David laughed. “Hey, now. Don’t be making fun, or I might just have to take this back to Mickey D’s.”
Nancy’s entire being sprang to life. “You got Mickey D’s?”
“What else?” David said, his voice breaking just a bit. “A twenty pack, and all the sweet and sour sauce you can eat. Not to mention fries, two apple pies, and an extra-large strawberry shake. You think you can handle all that?”
Nancy jumped up from the table and threw herself into David. “I love you, Big Brother Zero,” she whispered into his chest.
David pushed her away as gently as he could. “Well, it’s a special night, isn’t it, so the sky’s the limit. Now eat!”
Nancy didn’t need to be told twice. She ripped the bag down the middle and started shoving McNuggets in her mouth, two at a time. David dabbed his eyes with his dirty t-shirt and sat down across from her, tearing the tops off sauce and ketchup packets. He could barely keep up, as she had downed ten nuggets already, and was reaching for the fries. “McDonald’s fries: the only fast food fries worth eating,” she said, her words distorted by said French fries.
“Agreed.” David brushed a tiny chunk of chicken off his arm.
Nothing further was said until the last slurp of the milkshake. David gathered the trash and tossed it. “Nancy,” he began softly, “Mom and Dad wanted to be here – everybody did…, it’s just that – “
“I know… it’s okay,” Nancy said, and looked up from her feet. “I’d rather it’s you anyways. Just you and me, like always.”
“The One and a Half Musketeers.”
Nancy laughed. “It’s The One-HalfMusketeer now, or did you forget you’re Big Brother Zero?”
“Nope,” David said, and left the room. Nancy popped the lid off the milkshake, and peered inside. Disappointed, she threw it in the trash with the rest.
“I think I remembered everything.” David returned with a couple of Wal-Mart bags. “Dress, shoes, hair ribbons –“
“You brought the pink ones, right? My favorites?”
“Sorry. You know they have to be white like everything else. It’s the – “
“The rules, I know. Oh, well, the white ribbons are okay, I guess.”
“I think the white ribbons are great,” David said, and glanced at the wall clock above the sink. “Well, I hate to break up our little party, but it’s time we got started. We’ve got quite a hike ahead of us.”
“Okay. I’ll put my clothes on and then we can go.” Nancy took the bags and headed towards the bathroom, but stopped. “David, you’re sure it’ll work, right? For the whole year, it’ll work?”
“It always has, hasn’t it?”
“Everybody eats, nobody gets sick, nobody dies?”
“I promise,” David whispered.
“Okay, then,” Nancy said, and left the room.
“Try and hurry,” David said, hating himself for it, but knowing they couldn’t be late.
The thing on the mountain was hungry, too.
Billy Lyons is the author of four previously published horror short stories.Cell 334 was included in the November 2014 edition of Another Realm e-zine. Black-Eyed Children, Blue-Eyed Child was featured in High Strange Horror, a 2015 anthology from Muzzleland Press. This story will also be featured as a reprint in Strangers, an upcoming anthology from Horrified Press. Sheep and Snakes was published in Two Eyes Open, an anthology released by MacKenzie Publishing in August 2017. His latest, Where You Find It, was featured in Home Sweet Home, an anthology released in September 2018 by Millhaven Press.
His debut novel, Blood and Needles, was released in June 2017 by Intrigue Publishing.
He watched her fingers fumble over the oval, smooth buttons. He ignored the tears on her cheeks.
The peacock velvet gown flowed over her curves.
“You are exquisite, my dear,” he crooned.
Hands shaking, his new wife finished securing the last fastening.
“Step nearer.” She obeyed.
He kissed each blanched button, from the cleavage to the hem, naming each one, “Jemina, Louisa, Margarite, Rosalind. Farewell.”
His wife stood trembling, bile in her throat, hate in her breast. For him. Not for them, his dead wives, all eight of them.
Each bride represented by one ivory button fashioned from their bones.
Alyson lives in the UK; her fiction has been published widely in print anthologies – DeadCades, Women in Horror Annual 2, Trembling with Fear 1 &2, Coffin Bell Journal 1 and Stories from Stone and in ezines, most often on the Horror Tree site, Siren’s Call and The Casket of Fictional Delights. In May 2019 Night of the Rider, was published by Demain, in their Short Sharp Shocks! E book series and reached the amazon kindle top 10 best seller lists. Her work has been read on podcasts (eg Ladies of Horror), shortlisted in competitions and published in charity anthologies. Future work will appear in anthologies from Things in the Well, Mortal Realm and Twisted Wing Publishers.
She performs at open mics, teaches, edits and hangs out with her dog on the moor in all weathers.
There wasn’t a whole lot left in his mind, but at least the numbers were still there. As an accountant, they had been his life — when he still had one. They floated around in his decaying gray matter, dead leaves across a murky pond.
Soon, there’d be nothing left but the numbers. And then there’d be nothing at all.
Seven days of chaos and news reports. Four major cities overrun in that time.
One bite. Three hours for the infection to spread.
Two fingers left on his hand. Twelve people eaten.
Five — what? The word wasn’t there.
Five . . . five . . .
Fiiiii . . .
Patrick Winters is a graduate of Illinois College in Jacksonville, IL, where he earned a degree in English Literature and Creative Writing. He has been published in the likes of Sanitarium Magazine, The Sirens Call, Trysts of Fate, and other such titles.
Radar DeBoard is an aspiring writer who just wants others to find enjoyment in his work. Even though he lacks publication and experience, he hopes his work will have an impact. He has a passion for horror and finds it the most interesting genre to write.
Disclosure: Our reviews may contain affiliate links. If you purchase something through the links in this article we may receive a small commission or referral fee. This happens without any additional cost to you.
In an age when artists and authors are constantly tempted to surrender their focus (I’m looking at you, social media!), the reMarkable e-ink tablet promises a creative experience free of distraction. That’s a lofty goal, but the reMarkable crew of Oslo, Norway has made it their philosophy since the tablet’s crowdfunding campaign of 2016. Now, after years on the market and several big firmware updates, consumers are finally able to gauge how well the company delivers in their commitment to Paper People.
Full disclosure: my writing process has always begun with putting pen to paper. Given this, I was intrigued by the idea of an e-ink tablet replacing the many stacks of notebooks lining my desk. But is the reMarkable tablet really an organized and distraction-free creative experience?
My biggest gripe with the reMarkable came before I even purchased it -– the price. At $599.99, the “Paper Tablet” would be a hefty investment, but the potential of focus and productivity was worth the risk, so I went for it. Unfortunately, a few days after purchasing the tablet, it went on sale for $499.99, leaving me feeling a little defeated. Fortunately, after a quick correspondence with the excellent reMarkable customer service, they refunded me the difference, effectively softening the blow of the price-point.
I received the reMarkable in under ten days. The package included the 10.3” e-ink tablet, a reMarkable pen, ten additional pen tips, and a charging cable. I was immediately impressed by how sleek and lightweight the tablet is. And when they say the CANVAS display has the texture of paper, the company isn’t kidding.
After charging the device, I booted up Codex, the custom Linux operating system, and tried my hand at syncing the tablet to the reMarkable app on my phone. This was a pain-free experience, though many users have had problems in this area. With the tablet and the app in sync, anything I created would automatically be sent to a dedicated cloud and downloaded onto connected devices via the onboard Wi-Fi.
In my estimation there are four primary uses for the reMarkable tablet: writing, sketching, reading, and annotation. Writing and drawing on the e-ink device is surprisingly smooth with the battery-free stylus offering virtually no lag. The interface offers a variety of options, from pencils to markers to pens, some of which are even pressure-sensitive. Though the device is entirely in grayscale, there are enough style choices to offer a diverse writing or sketching experience. Most impressively, though, the system now offers a writing-to-text option that converts handwritten words to editable text that can be e-mailed and further formatted in a traditional word processor.
The reMarkable tablet also doubles as an e-reader for PDF and ePUB files. Text is stark and readable even in direct sunlight, though it lacks a backlight to read in the dark. Even so, for a simple device on the go, the reMarkable serves its purpose well, especially for annotating text. With such tools as a highlighter and its wide array of writing implements, the tablet presents a great way for notetakers to edit uploaded papers in real time. In fact, a large part of reMarkable’s customer base are students using the tablet to stay organized in class or notetakers in office settings.
Still, though the reMarkable adds a simple approach to the creative process, the device can be slow at times, especially when loading or navigating particularly large files. Uploading and downloading also requires some patience as the cloud synchronizes everything. And that writing-to-text option? Though it’s definitely a game-changer when writing longhand, the software isn’t exactly 100% accurate in its translation from handwriting to text.
Overall the reMarkable is a neat little device that boosts the creative process by stripping away the distractions plaguing artists and authors alike. The feel of writing on the system is satisfying and has, indeed, replaced the many notebooks that occupy my office. The battery life isn’t too shabby either as I’ve only had to charge the device once a week after moderate use. Though the price is steep for such a niche technology (the reMarkable is currently $499.99 on remarkable.com), it is a dream come true for a writer such as myself who drafts in longhand. There are negatives, to be sure, and many opportunities to further optimize the device, but the reMarkable offers a unique e-ink experience that delivers on its promise of distraction-free writing.
If you are interested in picking up a reMarkable, be sure to head over to Amazon today!
Our church worships at the altar of the Unholy Trinity. Its gospels are delivered as a trio of dark drabbles, linked so that Three become One. All hail the power of the Three.
How I used to scorn the theory of lycanthropy. Why should the Moon, reflecting the Sun’s light, transform a human into a ravaging beast? The moon is just rock orbiting the earth. No magic powers or secret fields of radiation. And yet I am the Moon’s child despite my superior learning, and when that white disc edges above the horizon, my bones melt, reforming like plastic; my fanged jaws extend, and coarse black hair erupts from my skin. I yearn for the blood and flesh of my victims. What good is logic and science to a beast of the forest.
Where the Goddess will Fall
We blessed the Moon at first. Our silver and white goddess who took the celestial bullet meant for the Earth. It was her body which trembled as the mass of icy rock penetrated into her dust and stone girdle. ‘We are saved,’ we rejoiced. ‘We will not share the fate of the dinosaurs. Humanity will continue because of the Moon’s sacrifice’. But we forgot to ask where her broken remains might rest as she fell from the heavens, her sparkling white blood spilling on the black velvet of space. She fell to Earth, her once radiant gown, now Earth’s shroud.
We dwell in Moon shadow, darker than my beloved’s eyes, worshipping our killing moon. We forget former shapes and live for the hunt. My mate trails our prey, the fear scent strong. She prowls ahead, I behind at a steady lope. She will take the honour of first bite and claw. She leaps, a growl in her throat. There is a crack of thunder; she falls dead, changing into what she was before. I leap, kill, feast. Past memory speaks of guns, shiny bullets. Silver like Queen Moon. I still hunt in the Moon shadow, but now I am alone.
Martin P. Fuller
Martin lives in his shoebox house in West Yorkshire. He was in his previous exitances: a beer salesman, a pall bearer, a car delivery driver, and oh yes… a police officer for over 34 years.
He started to write in 2013 after attending a creative writing class and since then has become a writing course junkie.
Discovering his dark side, Martin has had a number of stories published in Trembling with Fear and several other anthologies including Deadcades published by Infernal Clock.
Please do not submit the same piece to multiple categories.
Please review your piece carefully before submitting – every time we receive a submission that is withdrawn for resubmittal, it counts towards our overall per-month submittal count. If you notice a small mistake, let us know. Otherwise, please do not attempt to resubmit.
We pay $10/contributor via PayPal.
If we publish your work, wait one calendar year before submitting again.
If we decline your work, please wait until the next submission period to submit again (don’t submit within the same issue’s reading period)
Simultaneous submissions are fine, just keep us in the loop. Withdraw your work (congrats!) or leave us a comment in Submittable.
Previously published work cannot be considered (this include blogs, Facebook, Wattpad, etc).
We retain first serial rights on work we accept and then all rights revert to the author. If the work is reprinted, we ask that Third Point Press be acknowledged as the place of initial publication.
EXPEDITED READING ($5)
If you use the expedited reading option in Submittable for poetry or fiction, we’ll put your work at the very top of our reading pile. You won’t get anything more than that (no preferential treatment, no instant acceptance). Think of it as a way of patting us on the back while satisfying that urge to avoid waiting in line.
FEEDBACK OPTION ($7)
You can also choose the feedback option when submitting. This simply ensures that we will provide our thoughts explaining what we liked, didn’t like, and thought could be improved on in your work.
Send a short story up to 3,500 words or up to 3 flash pieces (each of which should not exceed 1,000 words).
Do not send an excerpt of longer works unless it can absolutely stand on its own.
Submit all of your work in a single file, use clear page breaks between pieces, and clearly identify each title in the title area of Submittable (Title A/Title B/Title C).
Please use a standard font and double space your submission.
What to Submit:
It’s pretty easy to tell you how to format your submissions. What’s tough is trying to convey what we want to see, what makes us say, “this!” We love character-driven stories that possess a strong sense of language, no matter the genre. In considering what makes a story a good fit for us, we look to Roxane Gay and Kelly Link, who’ve both mentioned how a writer’s obsessions not only generate strong story ideas, but are also the source of a writer’s distinct voice. We want to hear yours.
Send up to 5 poems in a standard font.
Submit all of your poems in a single file
Make sure to check your work for errors. This is even more important with poetry. We want your work to look exactly like you mean it to look.
Deadline: January 31st, 2019
Payment: 8 cents per word
Rebuilding Tomorrow is a followup anthology to Defying Doomsday, which was an anthology of apocalypse-survival fiction with a focus on disabled characters. Rebuilding Tomorrow will again focus on disabled and/or chronically ill protagonists but, rather than focussing on survival in the immediate aftermath of an apocalypse, we want stories set a significant time after an apocalyptic disaster. We want stories that show society getting back on its feet and people who have moved past (or are in the process of moving past) subsistence-level existence into a new, sustainable world, even though it’s one that has been irrevocably changed by an apocalypse.
We already have some fantastic stories lined up, but we want more! If you have an apocalypse story featuring a character with a disability, we would love to read it.
(One of) the protagonist(s) must be a character with a disability or physical impairment, chronic illness, mental illness or neurodiversity etc. We will consider stories with characters experiencing all kinds of disability and illness and hope that submitting authors will be creative with the possibilities.
We feel strongly that disability or chronic illness (etc) should have a frequent (if not daily) impact on the character’s life. For example, a character with a deadly peanut allergy in a world where peanuts have been wiped out by a plague isn’t going to quite cut it. However, we are not looking for issue stories or stories where disability is the sole focus of the narrative.
Some sort of cataclysmic event must have occurred well before the start of the story. We are open to a variety of past events, including apocalypses, alien invasions, devastating war, natural disasters etc. Be creative! The important thing is that these events should be in the past, although characters may still be dealing with some longterm consequences.
We are not interested in fantasy (that means no magic).
Stories can be young adult or adult stories. Graphic themes and content are okay, but we’re not looking for erotica or gratuitous violence.
Stories should be between 2000 and 6000 words in length and submitted in some approximation of standard manuscript format. We will happily accept .rtf, .doc and .docx files.
No reprints, no simultaneous submissions, no multiple submissions.
We want a varied anthology with stories that are fun, sad, adventurous or horrific etc. We are also looking for variety in both characters and worldbuilding. Most of all, we are looking for good quality, well written stories. Note that, while we value #ownvoices stories, we do not require authors to disclose personal information to us.
Some things we already have covered (hard sells to steer away from):
Stories featuring protagonists with upper limb deficiencies
Stories where the central plot involves a happy community being temporarily disrupted by belligerent outsiders
Submissions are open from 1 October 2019 to 23:59 on 31 January 2020 Australian Eastern Standard Time.
Payment will be 8 cents per word (USD) to be paid on acceptance in exchange for First World Publication Rights, with an exclusivity period of 12 months (with the exception of Year’s Best reprints).
Today we revisit an interview with Marcus James by Selene MacLeod. Marcus talks about horror, witches, and genderqueer characters. The actual interview is fascinating and quite long, so make sure to check out the whole thing here.