Length: up to 10k words
Payment: A paper back copy of the anthology and a book cover for author’s next project, print, and ebook
Submission Guidelines: https://reshwity.wixsite.com/publishing/submissions
Metropolitan tales of city-focused fantasy with queer perspectives. Squalid flats, glittering spires, and alchemical trolleys. Manipulative heirs, handsome swordswomen and noble automatons. Write us something built with borrowed Bordertown DNA, purloined echoes of House Tremontaine society and stolen grit from the dark of London Below. Be inspired by Dhalgren by Samuel R. Delany, China Mieville’s Perdido Street Station, or “The City Born Great” by N.K. Jemisin.
Accepted stories of 1,000-6,000 words earn a onetime fee of $25 plus a contributor’s copy for the original terms of the contract. Accepted stories of less than 1,000 words earn a onetime fee of $10 plus a contributor’s copy for the original terms of the contract. Payment is within 90 days of publication.
Stories should be in standard manuscript format, i.e. double spaced, in a reasonable 12-point font. The editor has a fondness for Georgia. The story title, word count, and contact information should appear on the first page, and your last name, story title, and page number should appear in the header information of all other pages.
We will be reviewing submissions on a rolling basis until the anthology is filled. Acceptances will be notified within 60 days. Feel free to query after that.
We’re looking for stories under 6,000 words. 3-4,000 words is probably the sweet spot.
We will not be accepting previously published work for this anthology.
Liminal is searching for stories of a particular tone and tenor, regardless of form. We like stories that are strange and unsettling, sharp-edged and evocative. Although we will consider any genre, we have a soft spot for weird fiction, magical realism, soft science fiction, and those uncategorizable stories that straddle the line between genres. Liminal stories should linger in the mind and evoke emotion in the reader.
We will consider stories up to 10,000 words, and pay 6c/word on publication.
Liminal isn’t a market for reprints, or non-fiction. We don’t accept simultaneous or multiple submissions of fiction.
The editors of Liminal believe that fiction is enriched by diverse voices. We welcome and encourage submissions from writers of every nationality, race, sexual orientation, religion, and gender.
Send submissions in .DOC or .RTF format to firstname.lastname@example.org. Please use Submission: [Story Title] as your subject line. Include your story’s title and length in your cover letter. Don’t stress over what to call us. We’ll answer to Editors, Shannon and Kelly, or Ms. Peavey and Ms. Sandoval.
Please use Standard Manuscript Format for all Liminal submissions.
Liminal is currently open for poetry submissions. We’ll close on January 15.
Like its fiction, Liminal is searching for poems of a particular tone. We like poems with strong imagery and precise language. Fantastical elements are encouraged, but not required. Some of the editor’s favorite poets include, but are not limited to, Claudia Emerson, Jamaal May, Judy Jordan, Jack Gilbert, Ai, and David Kirby.
We will consider poems of any length, and pay $50 per poem on publication.
To submit, send 1-3 poems in DOC format with the subject line POETRY SUBMISSION: [Poem Title(s)] to email@example.com. If you include a cover letter, please address it to Editor, Helena, or Ms. Bell.
We try to respond to all stories and poems within 30 days. Please query if you haven’t heard from us. Use Query: [Story/Poem Title] as your subject line. Send queries to the same email you used for your original submission.
As you have no doubt been made aware from previous correspondence, Mr. Gladstone, problems of an unusual nature still arise in the further reaches of Her Majesty’s empire.
You remember the transport we lost in the Chinese seas, and manpower spent keeping it from the press. One of the officer’s wives, a Mrs. Kathleen Morland, was found drifting in the same waters. Yes, two years later. She wore strange finery, speaking in a language that we still haven’t placed, and only telling a broken story through far more broken English. She complains of voices from some long ago time, saying things she wishes she could forget. The ship which rescued was followed to port by strange lights.
One exploratory party Africa reported total darkness for a period of 106 hours. No trace of the sun. Light suddenly returned around noon. When their guide returned the following day, he was nearly mad with grief. “The darkness now resides within us. Our light has faded.”
Just as I was about to hand this to my secretary, one more report arrived. Trouble along the Indian border, as ever. Word is fragmentary, also as ever, but suggests something unhealthy and alive in the biting wind.
While troubling, I don’t believe there is anything the foreign office can do at this time. We’ll continue to look into these on a case by case basis—but the difference in geography, actors, and dates seems to suggest we can do little but watch, record, and pray.
Yours truly,[The signature is missing, crumbling away to a burnt-out blackness. The letter shows signs of having been thrust into the fire, but saved before the letter was wholly consumed.]
Their Coats All Red: Dark Tales of Empire is seeking strange stories which are steeped in the history of the British Empire from about 1880 to 1905. These must be tales which capture the feel of the high Victorian era.
We don’t want stories of the Empire itself—we want stories of the weirdness underneath. Ghosts, spirits, madness and monstrosities are all welcome. Make it psychological or physical, but make it good.
Crucially, every submission must contain an element of the weird, the uncanny, the supernatural, or the paranormal. This may be in the form of spirits, hauntings, monstrosities, folklore and folk-horror from the region in question, or simply the completely inexplicable. Dark, foreboding, or unsettling are good keywords. Weird fiction also encompasses dark fantasy, of a sort, opening the door for dark historical fantasy a la Manly Wade Wellman, Neil Gaiman, or Tim Powers.
We are looking for stories which reflect the vastness and variety of the Empire, and so suggested geographical settings include, but are not limited to:
We want to see the impact of Empire and its infrastructure, from any viewpoint. The military side of life on the frontier is an obvious one, and an encouraged one, but not the only approach.
We will check your history.
Characters of any relevant culture, ethnicity, or allegiance are welcome, not only the British soldiers. The lost, bewildered British soldier or colonial administrator; the embittered Indian servant or Rajah; the scorned Egyptian woman and the dying Boer farmer are all equally possible protagonists. What we do not want are stereotypes. Think real people in strange situations. No cartoon racists or noble savages.
Farmers marching under a parched South African noon to fight the Boer, with whom they often had more in common than they had with their own officers. Young London women shipped with their husbands to quarters in Calcutta with little company save their Indian servants. Traders and planters in Malaya, fighting the monsoon shadows, and the forlorn garrisons in the Sudan. The sailors of the West Africa squadron, seizing slave ships off the Gold Coast.
The Bombay char wallah, beaten once too often by the English Major for being too slow with his tea. The Zulu who trades his iklwa for a Martini rifle. The Egyptian woman who finds her officer lover will not acknowledge her in the street.
Complex and human are the watchwords. Be sensitive to the humanity of characters on all sides.
We would also like to encourage stories with female central characters. The high Victorian era is when modern women began seriously entering their own careers, studying science, and starting their own businesses. While there were many problems in the era, it would be exciting to see achievements celebrated, in fiction, instead of the era’s failings presented as the only path for women. This is, after all, also the era of Nellie Bly, Annie Oakley, Mary Kingsley, Isabella Bird, Marie Curie, Cristina Trivulzio Belgiojoso, Harriet Martineau, and Jane Addams, among many, many others.
Using the Cthulhu Mythos is acceptable, however we do not want simple retreads, pastiche, or Lovecraft-lite. Write something fresh, creative, and, of course, deeply embedded in the Empire if you choose to try this route.
If you would like to write a story regarding an earlier event (such as the Sepoy Rebellion), please query the editors.
Don’t rely on a historical cliché. Corsets weren’t that tight (except for a hot five minutes in 1850s France). The English weren’t repressed, and all the evidence usually carted out to prove it is a hoax (“Lie on your back and think of England”) or a joke that started about Americans (“They cover the most scandalous, shapely legs in their house—the piano legs!”). Falling into a historical cliché is a serious black mark against stories.
We’re looking for realistic takes on the Empire itself. In other words, the Empire was neither cartoon monstrosity nor entirely wonderful. Like so many things, it was a mix of positive and negative. If stories try to address empire as a concept, or the English Empire in particular, it’s essential to keep this in mind. Stories which fail to keep this in mind will be an increasingly hard sell.
This does not mean we’re looking for stories where “The English only thought they were doing positive things in their Empire building.” We’re not interested in anything so dismissive of the past. We’re not looking for comments on Empire along the lines of “actual evil” versus “perceived good,” but the much more difficult and human, “actual evil” vs. “actual good.”
A general historical story of the period, however weird and unnatural, will not cut any ice—it needs to be rooted in the Empire.
We are not interested in political screeds for or against the English Empire, or empires in general.
We’d rather not receive missionary stories. It’s an over-used take on colonial issues, and unless it’s astonishing or very, very different, we’re not likely to let you get away it.
Stories set in locations such as America, Canada, Australasia, and the West Indies are also feasible, but they will be a harder sell unless they have directly relevance to the theme of Empire. Stories may be set in Britain, but they would have to relate to an aspect of Empire. No Victorian gents merely musing how they got shot in the leg in Afghanistan, please.
Payment: 5% of the gross profit will be paid for each accepted story. These payments will be issued to you at quarterly intervals. Stories under 1,500 words will only receive 4% of the gross profit.
Rights: First World Digital and Print.
Deadline: April 15th, 2017
Word Count: 4,000-16,000
How to Submit your Story:
John Linwood Grant is a writer of strange period tales and dark fiction, author of the Tales of the Last Edwardian series, including A Study in Grey, and co-editor of Occult Detective Quarterly.
Matthew Willis is a journalist and writer, author of a period sea novel Daedalus and the Deep, and editing credits include the recent Stalking Leviathan anthology.
Clockwork Cairo is currently open for submissions until December 31st.
We are seeking steampunk fiction themed around Egypt to fill the last two slots in the anthology. Pay rate is 3 cents per word, up to a limit of 7000 words, for first publication rights.
Notes on what we are looking for:
– Stories set in Egypt, or heavily associated enough to justify their inclusion in the theme; however, it is worth noting that due to the existing stories in the collection, we are pre-disposed towards specifically Egypt-set stories.
– Although we’re aware that steampunk has its roots in the pastiching of colonial-era fiction, we are very keen to avoid narratives with an imperialist flavour to them, and we actively encourage stories with native viewpoints and characters. In other words: there are far more stories to tell than white explorers in exotic foreign lands.
– Avoid stories with clockwork mummies, with museums, and with incarnations of gods–not because we don’t like them, but because we already have them.
Please submit (and feel free to query) to the editor via firstname.lastname@example.org.
SUBMISSION PERIOD: November 1, 2016–January 15, 2017
As part of the Nosetouch Press ongoing short fiction contest, we are looking for ghost stories of all kinds in Round 2. Short stories (3,000 to 9,000 words) will be accepted until JANUARY 15, 2017.
Email entries to email@example.com .doc or .rtf format • Please state “Asterisk 1-Round 2” in your subject line. One entry per person.
It must be first person: There must be a narrator that is telling the story as though they have experienced it. It does not need to have mad science in it at all.
Though we are not requiring it, we would also love stories that feature protagonists or settings that are outside of what we typically see in mainstream fiction. We love vampires and werewolves, but there are so many other monsters out in the world. We would also like to collect stories from a wide range of authors, including authors with little to no publishing history and authors from traditionally underrepresented groups.
Authors – here’s your chance to tell BOTH sides of a story. What we are looking for are speculative fiction stories that tell a story that when told from one perspective come across in favor of one narrative and when told from another perspective comes across in favor of another narrative. Watching a video of police interaction with someone that erupts into violence and someone being injured or killed. That part can be easy (depending on the narrative you want to support) – Now the hard part. Retell that story from another perspective – but it has to take the reader in the complete opposite direction and it has to ring true to the facts that would be KNOWN by the viewpoint character. Using the ‘police’ video for example – write one story showing the officer used excessive force, was targeting specific individuals, etc. Now for the second one – write a story again using the video as the basis and write it so the officer is 100 percent justified in their actions. It can all be a matter of perspective and having access to different sets of facts.
BOTH stories must be realistic and ring 100 percent true to the reader as they read.
Stories are presented in audio format, which means our audience rarely skim past boring bits. We’re looking for fiction with strong pacing, well-defined characters, engaging dialogue, and clear action. We like a proper narrative structure and a unique prose style not laden with clichés and over-worn idioms. We like fiction that makes us think, but the main element should be thrilling entertainment and adventure.
We prefer high fantasy — elves, dragons, secondary worlds, and magic — to the more cerebral forms of fantasy you find in adult markets.
We like all forms of science fiction: far-future, near future, space opera, “hard” sci-fi — but it must be accessible to our target audience. This means a minimum of technical jargon.
We’re happy to read comedy, steampunk, horror, urban fantasy, paranormal romance, superheroes and many other genres. All that matters is adherence to our core concept and that critical spark of wonder.
Stretch your boundaries and do more than just add sex to a fairy tale. For example, take the protagonist of the story and put her in the city, in a contemporary setting. Use your imagination and we will be more interested in your story! We invite our writers to explore the lesser-known fairy tales, and we are especially excited by non-European stories.
While we will accept submissions that are inspired by the most common classic stories, such as Little Red Riding Hood or Sleeping Beauty, we do expect a high volume of these and we will only publish one version of each. We invite our writers to explore the lesser-known fairy tales, and we are especially excited by non-European stories.
We particularly enjoy erotica with a literary flair. If your language seduces us as much than the juicy bits, we’re going to want to share you with our readers.
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