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
Genre: horror, science fiction
Submissions of high quality should be original, unpublished works.
Submission guidelines can be found here: http://www.writersdigest.com/…/what-are-the-guidelines-for-…
Deadline: midnight (cst) March 15, 2018
Pay: .006 per word
Acceptance letters will be sent by May 15, 2018 please do not inquire prior to that date regarding submission status.
Poetry may be submitted 200-1000 word max.
We’re not going to put a hard word-count on this. It’s possible a flash piece or very long short story could bowl us over. We expect, however, most of the stories to be in the 4,000-8,000 range.
For UFO6 we’re seeking all style and sub-genres of speculative humor.
WHAT WE WANT:
We’re looking for speculative stories with a strong humor element. Think Resnick and Sheckley, Fredric Brown and Douglas Adams. We welcome quality flash fiction and non-traditional narratives. Take chances, try something new, just make sure that your story is funny.
Puns and stories that are little more than vehicles for delivering a punch line at the end aren’t likely to win us over. The best way to learn what we like in general is to read a previous volume. You can buy it here and also read the online stories for free.
WHAT WE DON’T WANT
These are the tropes we see entirely too much of in the slush pile. You will improve your odds if you steer clear of these:
* Deals with the Devil / Djinn in a bottle variants
* Stereotypical aliens probing people, abducting cattle, and doing other stereotypical alien things.
See the UFO Publishing About Us page
FREQUENTLY ASKED QUESTIONS:
I have two 6100-word horror stories that were previously printed and are now on submission at several magazines. Can I send them to you, simultaneously?
Please don’t. We have carefully considered what we’re looking for and expressed it above. If you strongly feel the need to break one of the guidelines, query first and provide a good reason.
My story was previously published in an obscure college anthology in 1996, which sold 16 copies. Can I submit it?
Sorry, but we won’t consider previously published stories, no matter how obscure. Stories posted on your personal blog, Facebook page, or Patreon page are considered published.
I may have accidentally begun my manuscript three double spaces below the byline instead of two. Am I getting auto-rejected?
Don’t sweat the small stuff. We’ll reformat your submission to fit our needs. You’re even welcome to send your story handwritten in pink crayon on glitter-sprinkled construction paper, but we will take that into consideration when deciding whether to purchase it, and whether to file for a restraining order.
I plan on winning multiple awards for my UFO story. Will your exclusivity rights prevent me from being included in the Nebula Showcase?
Congratulations on all your future success. We will gladly make exceptions for “Best Of” anthologies.
An anthology of humor SF/F is the greatest idea since sliced bread. What can I do to help?
Spread the word. Support our Kickstarter campaign. Pick up copies of previous UFO volumes. If you want to invite our authors/editors to a con you’re organizing, sell paperback copies of UFO at your store, bake us cookies, or help in any other way, we’d love to hear from you.
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.
You are invited to submit your writing where your original supervillain pleads his or her case as to why they are the best suited to become the Supreme Archvillain. It can be through their dramatic battle(s), humorous, or some other unique device.
The Supreme Archvillain Election is a superhero prose fiction anthology project open to anyone, until February 1, 2017. It is a vehicle for published authors of prose superhero fiction to promote their work. New writers are also welcome to contribute. Stories and characters must be original, or public domain. No fan fiction. This is not a Creative Commons project. Submission does not guarantee acceptance. You may be required to rewrite or edit, or your piece may be rejected. Or, I may do some light editing on my own. The contributions should be around 3,000 to 5,000 words long.Reprint excerpts that fit may be used. Upon acceptance, you will be giving one-time rights to use your piece. Bear in mind that most publications will not publish pieces that have already been published, so after your work is published by us, it can only be marketed again as a reprint, which severely limits the number of markets that will accept it, and drastically reduces the pay rate it can receive. If you submit a contribution, I may request your consent to use your character briefly in a story in the conclusion of the Anthology. (Because at the end of the book, I may want to have characters interact and pick a leader through some big battles or arguments. But I will run any such concluding story by all of the contributing authors and I promise to make them all happy with what their character did or said.)
Submissions: There are no fees or any membership requirements to submit. There is no requirement to purchase anything. Send submissions to my email. Put a paragraph or two synopsis about your work for the back of the book, along with the link to your web site. Then the submission in the body of the email. I should be able to respond within a few days to a couple of weeks. Hard copy submissions will not be accepted. Multiple submissions are accepted, but those after your best one will be given secondary consideration. If you do send any brilliant additional submissions, you will get an extra royalty share for each acceptance. I will need your mailing address or Paypal account name.
Submissions shall start and end with your most interesting villain as the narrator, talking to the other villains at the table. The whole story need not be in the voice of the narrator, but their narration can take the reader into some action. Therefore, choice excerpts from your books may be used.
Some suggested topics for your article:
Your supervillain/supervillainess brags about his superpowers, henchmen, hideouts, gizmos, and accomplishments. (All ridiculous statements will just be considered as lies by the other characters and readers.)
He may suggest a name for the group and what direction they would take the group.
He laments about how he was foiled and how things will change under his/her leadership.
How he/she became so evil or misunderstood.
Issues some serious threats.
Acts like a creepy or scary sociopath, showing some of their quirks.
Abundant trash talking.
Acknowledge murmurs or laughing by other characters that you know would be there if your character made such a remark.
For more information on the development of the anthology, check out the Shared Universe Page.
This anthology is not a competition to see who can come up with the most powerful being, like some rule-bending role-playing gamers. It is to showcase writing for the entertainment of the reader.
Publication: The plan is for the anthology to appear on Amazon/Kindle Unlimited. It will be put on fewer channels to make the cost of the paperbacks lower to the reader.
Author Payment: Be advised that the payment from your submission may not amount to more than a token amount, if anything at all. After expenses, (such as the income tax, which I will pay, or artwork) all of the authors, will be given an equal cut of the profits for each acceptance. On any month when the royalty checks (or any ancillary income) owed will each be more than ten bucks, I will write the checks all out and land mail them, or send via Paypal. There is no plan to offer print author copies as the book may become large with a large number of contributors, making the cost prohibitive.
We want this to be a team effort, where we all help promote it and everyone involved wins. The more authors we get involved with more entertaining chapters, the more promotion it will get. This could be a ton of fun, and be a boost to superhero prose fiction. If it goes well, we could follow it up with a sequel. Please email me for any clarifications.
If one of the contributors also contributes front or back cover artwork, they will get credit for the cover, which will also help promote their own character.
Via: Unbelievable Universe.
Publication Date. – October/November 2017
Deadline – August 10 2017
Word Counts – 4000 to 7500 words
Pay 0.01 cent a word paid on acceptance.
Reprints 1/2 a cent per word. I buy very few reprints. / Return times 6 weeks/
submissions to – email@example.com (subject line – TRUMPETER)
The rights purchased are first international right in e-book/reader/pdf/POD/Print. All rights return 6 months after publication, though the anthology will remain in print for an indefinite period.
As well as payment authors also get a copy of the anthology in print form and access to all forms of download systems.
For Advertisers – a complete ad for the opposite page of a short story and which is in keeping with the futuristic style of the collection will need to be set at 5″x 8″ with 5mm bleed all round. To help support this product ads are kept at a low rate of $150 per ad. All payments for ads are made to
Robert N Stephenson, owner, editor, and publisher for Altair-Australia.com
Via: Robert N. Stephenson.
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.
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