Anthology Markets

If you’ve just wandered in off the internet, hi and welcome. 🙂 I do these posts every month, so if this post isn’t dated in the same month you’re in, click here to make sure you’re seeing the most recent one. If you want to get an e-mail notification when the listing is posted, get the list a week early, or get a full listing of everything I’ve found (as opposed to the two months’ worth I post here) a week early, you can support my Patreon.

Markets with specific deadlines are listed first, “Until Filled” markets (if any) are at the bottom. There are usually more details on the original site; always click through and read the full guidelines before submitting. Note that some publishers list multiple guidelines on one page, so after you click through you might have to scroll a bit.

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29 September 2017 — Alien Invasion — Flame Tree Publishing

Visitors from other planets have long obsessed us. H.G. Wells’ The War of the Worlds spawned a huge wave of speculative fiction but the roots of such fears run deep in our literature, where the mysteries of other cultures have long threatened the familiar and the comfortable. Did aliens build the ancient pyramids? Do they live amongst us today? What happens when they invade? Would it be an inevitable act of aggression, one of assistance and care, or simply a reminder of our paltry existence in a crowded universe?

We are looking for new and recent short stories. We do not require exclusivity. You hold copyright, licensing us just for this publication. We don’t mind if your story has been previously published online or in print (though we do need to know publication and date). Simultaneous submissions are fine, but you must have the right to license your story in an anthology.

Word length is most likely to be successful at 2000–4000, but we will still read stories slightly outside this range.

Submit by email to 2017@flametreepublishing.com
Fees, Copyright and Other Terms

== We pay Science Fiction & Fantasy Writers of America (SFWA) rates of 6 cents per word.
== We would prefer to pay via PAYPAL because bank charges to the US and Canada in particular can be crippling for all concerned.
== Payment will be made within 30 days of the final advertised publication date (see our website, flametreepublishing.com for details), although we might choose to pay some early.
== Submission does not imply the right to publication. Each story will be read and assessed by the selection panel.
== Please submit in .doc or .rtf formats, double spaced, with your name and email address in the footer or header of each page.
== We will aim to read each story and confirm its status within 30 working days of the submission deadline.
== The anthologies will be published worldwide, available online and to bookstores worldwide, in print and ebook formats.
== You can submit more than one story, and to each collection.

Submit by email only to: 2017@flametreepublishing.com

SELECTION PANEL

The selection will be made by our group of life-long, in-house enthusiasts: Nick Wells (Publisher), Laura Bulbeck (Senior Editor) and Josie Mitchell, Gillian Whitaker and Cat Taylor. If required, the final selection will be mediated by our series editors. We try to keep everyone up-to-date as much as possible with occasional email updates.

A WORD ABOUT THE SFWA

To confirm, we became an SFWA qualifying market last year, so being published by us will help your status with them of course, but also with other readers and writers.

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29 September 2017 — Endless Apocalypse — Flame Tree Publishing

Stories of the end of civilized life have always fascinated us, from the mythological world endings – Armageddon and Ragnarok – to the flood stories from across the Ancient world. They make us wonder what we would do if all around us came to an end – no transport, no fuel, no communications, a retreat into the desperation, the onslaught of disease – how would we survive?

We are looking for new and recent short stories. We do not require exclusivity. You hold copyright, licensing us just for this publication. We don’t mind if your story has been previously published online or in print (though we do need to know publication and date). Simultaneous submissions are fine, but you must have the right to license your story in an anthology.

Word length is most likely to be successful at 2000–4000, but we will still read stories slightly outside this range.

Submit by email to 2017@flametreepublishing.com
Fees, Copyright and Other Terms

== We pay Science Fiction & Fantasy Writers of America (SFWA) rates of 6 cents per word.
== We would prefer to pay via PAYPAL because bank charges to the US and Canada in particular can be crippling for all concerned.
== Payment will be made within 30 days of the final advertised publication date (see our website, flametreepublishing.com for details), although we might choose to pay some early.
== Submission does not imply the right to publication. Each story will be read and assessed by the selection panel.
== Please submit in .doc or .rtf formats, double spaced, with your name and email address in the footer or header of each page.
== We will aim to read each story and confirm its status within 30 working days of the submission deadline.
== The anthologies will be published worldwide, available online and to bookstores worldwide, in print and ebook formats.
== You can submit more than one story, and to each collection.

Submit by email only to: 2017@flametreepublishing.com

SELECTION PANEL

The selection will be made by our group of life-long, in-house enthusiasts: Nick Wells (Publisher), Laura Bulbeck (Senior Editor) and Josie Mitchell, Gillian Whitaker and Cat Taylor. If required, the final selection will be mediated by our series editors. We try to keep everyone up-to-date as much as possible with occasional email updates.

A WORD ABOUT THE SFWA

To confirm, we became an SFWA qualifying market last year, so being published by us will help your status with them of course, but also with other readers and writers.

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30 September 2017 — Tribe Anthology — ed. Lois Peterson

TRIBE: A print anthology about the lives of older single women seeks work by emerging and experienced writers, providing insights into the situations and roles of older single women in our times.

Contributors:

Women aged 55+
From anywhere in the world
Single, which for our purposes means:
== You are single – by choice or circumstance – widowed or divorced
== Do not currently live, or plan to live, in a permanent domestic relationship with a partner of either gender

We are looking for well-written prose, poetry, prose poems, memoir, personal narrative, fiction ….Your submission could be about sexuality, health, music, family, reading and writing, travel, the outdoors and nature, dating, finances, art, creativity, loneliness, community, volunteerism, work, politics…

Your work could be serious, humorous, self-reflective, dramatic — about the condition of single life in modern times – your own experience and those of women you know, philosophical, sociological, analytical, revelatory…

We especially welcome work that reflects diversity.

Previously published work will be considered.

Prose submissions 1,200 words to 3,000.
Poetry max 45 lines

Submit:

Completed work – no queries

A maximum of two pieces of prose and/or two piece of poetry from each submitting writer

Complete submissions sent at one time as a single Word attachment

Include in the attachment:

== Your name
== Mailing address
== Email and phone#
== Month and year of birth
== If your submission has been published previously, please include info. about where and when

Rights: First North American Serial rights… the rights to the work return to the author 30 days after publication.

Email to tribeanthology@outlook.com with ‘Submission ^your last name^’ in the subject line.

Submissions accepted period May 1 – September 30, 2017

Remuneration: Initially* $25.00 CAN per piece (paid on acceptance), plus two copies of the anthology. *Sales/profits will determine further royalties paid to contributors.

50% of net profits will be donated to a charity, tbc.

Authors of work accepted for the anthology will be given the opportunity to sign off on any editorial changes made to their work prior to publication.

Tribe will be published by LPwordsolutions of Nanaimo, BC.

Submitting authors will be periodically informed of the progress of the project.
The publisher retains the right to cancel the project if the work submitted is not of the caliber required.

We are unable to provide specific editorial comment on submissions that are not accepted for the anthology, but will try to respond in a timely manner to all writers’ submissions and enquiries

We will also be seeking line drawings for the cover art and inside pages. Please contact tribeanthology@outlook.com for further details.

[NOTE: there’s more info on what the editor is looking for on the project web site. If you’re interested, click through and poke around.]

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30 September 2017 — Our Golden Gang: The He-Man Woman-Haters Club — EMRE Publishing

This will be an anthology of short stories that depicts “Our Gang-type” plots using the above characters. [Click through for a long list of names with photos.] President Trump’s rich pals will be playing inside the luxurious confines of Mar-a-Lago. Every summer, Donnie “Golden Boy” Trump invites all his friends to spend a couple of months at his big club in Palm Beach, Florida. Guests from around the world stay there, and the kids in Trump’s “Our Golden Gang” get into plenty of mischief. Although they will be depicted as children, these characters will keep their adult names (on left). Each child will be a mixture of the adult’s persona and the Our Gang character’s persona. He or she will be a child, however, and the troubles they get into at Mar-a-Lago will be childish in nature. Satire is accepted, but humor will be the thread of enjoyment throughout each story in this anthology.

Writers who submit can use old plots from the Our Gang films and update them to fit the present (technology, clothing, etc.). Stories are set in present day, although don’t give specific dates. Villains can be people from the present (Hillary Clinton, Barack Obama, Vladamir Putin, etc.), or you can invent others.

The first anthology in the series is called “The He-Man Woman-Haters Club.” All stories must mention this club in the story, although the club need not be the main emphasis in the plot.

Payment: 6 cents per word (Paid by Paypal only upon publication)

Anthology #1: He-Man Woman-Haters Club

Length: 3,000 to 5,000 words

Use Standard Manuscript Formatting.

Submit to: Submittable Online System

Socialize and get ideas at our Facebook Page.

For those authors who intend to submit to our anthology, then join this group.

Print and Digital Anthology

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30 September 2017 [or Until Filled] — Tales of Blood and Squalor — Dark Cloud Press

Wretched, low-class characters living in filth and poverty. With lots of misery and blood.

Dark Cloud Press is cobbling together a short fiction anthology of horror and psychological thrillers in ebook and trade paperback. The subject matter can be anything you want, so long as it includes both blood and squalor.

We all know what blood is. It’s spilled accidentally. Or worse, on purpose—often ending in death. But squalor…


SQUALOR: n. A quality or state marked by filthiness
and degradation from neglect or poverty.
Synonyms: sordid, wretched, seamy, seedy.

What We’re Looking For

The best example of what we’re looking for in stories for this antho is season 4, episode 2 of The X-Files, titled “Home,” which aired October 11, 1996. Find it. Watch it.

Literary examples include:

== Jack Ketchum’s Off Season
== Cormac McCarthy’s Child of God
== Truman Capote’s In Cold Blood

Write an original story that adheres to the guidelines detailed here. Don’t be limited by this list, but here are a few examples:

== Murder in a trailer park
== Blackmail gone awry in the inner city
== Revenge in a failed mining town
== Sinister events on the rural farm
== Deadly dealings on the other side of the tracks in small-town America

NOTE: We’re not looking for anything as hardcore as Off Season (be sure to study our general submission guidelines). And no slasher stories with buckets of blood, either. But blood and squalor, yes.

We want atmospheric horror in a squalid setting, or scenes under squalorous conditions, wretched characters, and a psychologically thrilling conclusion spattered with blood.

Scare us. Shock us. Make us reel.

HINT: You’ve got a better chance at hooking the editor if you write like Donald Westlake instead of H.P. Lovecraft.
Submission Guidelines

The anthology will contain 40,000+ words of original psychological thrillers and horror, 2500–5000 words each (3000–4000 preferred). It will be published in trade paperback and Kindle format, both available on Amazon.com.

== No previously published works.
== No multiple submissions.
== Electronic submissions only (.doc or .docx format).
== In your cover email, briefly introduce yourself, list your publication credits, and share what you’ll do to help market the book.

Format

Your manuscript must follow the format guidelines listed under Manuscript Format. Microsoft Word .doc or .docx files only.

Content Standards

DCP’s books entertain readers with meaningful dark fiction—spellbinding stories with a minimum of adult language and sex. DCP anthologies give readers an entertaining, thrilling, scary, imaginative read, leaving them with something important to ponder.

If you want your story to pass muster, follow Content Standards.

Submission Period

August 1 to September 30, 2017, or until filled.

Rejections may come sooner, but acceptance responses will be sent starting in October 2017.

Publication is slated for Spring/Summer 2018.

Rights Purchased

First World English (print) and First World Electronic (ebook) rights for a term of three years from date of publication.

Payment

Three cents a word upon acceptance, no royalties. For more information, see Payment.

Submission Email

Email your story as an attachment (.doc or .docx only) to editordarkcloudpresscom with “TBS Submission: Story Title by Author Name” in the subject line.

Questions?

Contact the editor at the above email address.

Good luck, and write well!

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30 September 2017 — Fantastic Trains: An Anthology of Phantasmagorical Engines and Rail Riders — ed. Jerome Stueart and Neil Enock; EDGE Science Fiction and Fantasy Publishing Inc.

Does a train whistle in the distance make you excited, wistful, or afraid? Trains have fired the imaginations of many people, especially writers. Anna Karenina, Night on the Galactic Railroad, The Signal Man, Strangers on a Train, The Lady Vanishes, Murder on the Orient Express all use trains as their main setting, not to mention the trains in children’s books—like Thomas the Tank Engine, The Little Engine that Could, and The Polar Express.

As travelers, we’ve been spurred to go farther because of trains, see new things, take chances. Trains have also, sometimes, pushed us too far, sliced the wilderness, inserted us into places to draw out resources, assisted in invasion. Trains, in a sense, even created Time as we know it. Trains altered our perceptions of identity, place, even of destiny. Suddenly, people could travel far away quickly, leave their families and homes for a better life, or opportunity—or people could escape the destiny of location. Step on a train, and you never know what you might find, or with whom you might cross paths. In essence, trains are Change.

We’re looking for your stories of trains—fantasy, steampunk, science fiction, horror, slipstream, urban fantasy, apocalyptic, set in any time, any place,—we’ll buy a ticket on all of them. We’d like to see what you can do with a train. A good part of your story should take place on a train—or most, if you can do it. We don’t care what era, what planet, or how the train might look differently there (it might even be alive!) or even if the train is moving. We just want that train—what you do with it is your magic.

This book will be both for lovers of the fantastic, and train aficionados. Think about how trains change the lives of people who travel on them, or how trains are used. Think about those people who love them, and know so much about trains, and why as children we were amazed. We want good character stories. We also want to see that you’ve thought about how your train runs. Make us feel like we’re on it. Make it fantastic!

THE TWIST: The Locomotifs

We’re looking for an author to choose one or more archetypal minor characters from the following list and interpret them through the lens of their story (their time, place, genre, etc.) as purely background characters, or, if you want, a main or POV character.

They can be combined too into a composite type character. An author would not HAVE to choose more than one, but one of these must pass through your story. (You will need to mention who you’ve chosen on your submission, under your contact information, using the letter(s) appropriate.) These characters are not named, nor is there any requirement for nationality, gender, race, ability/disability, gender expression, etc. You are free to interpret.

Here are the ten we’d like you to consider:

A) The Schemers: a couple with a plan
B) The Dreamer: someone who speaks about, or gives value to, his/her dreams;
C) The Detective: a person trying to solve something—a riddle, a puzzle, a mystery;
D) The Reluctant: someone who doesn’t want to get on, or perhaps, leave the train;
E) The Adventurer: someone who believes they are on an adventure;
F) The Guide: a mentor, a knowledgeable person about place, trains, etc.
G) The Box: a mysterious piece of cargo with important implications to someone.
H) The Lovers: a couple at any stage of love
I) The Knight: someone who will fight for a cause, theirs, or one they are given
J) The Seeker: someone who doesn’t know, but who wants to learn

We think the recurring nature of these “locomotif” characters through the collection will have an effect on the reading brain. We think readers will create connections and stories of the minor characters between these very different stories; they will link them up like train cars. Readers will make connections and see arcs by the juxtaposition of stories. (Think Cloud Atlas.)

You are invited NOT to take them literally. The Detective probably shouldn’t be a detective, but someone who is trying to solve a puzzle, a personal mystery, with a detective’s sensibilities. (And damned if Murder on the Orient Express’ trailer didn’t just use a similar concept by introducing characters as “types”—ignore that. We’d love to be original, but archetypes are very very old, and they’re not necessarily job-oriented, as they are in that trailer. But Christie’s MotOE is a great example of a train story!) Also, do not think that you need to try to fit in all ten. That’s like trying to meet everyone riding on your train. You can do it, but it takes too much time away from you.

Authors, of course, are free to develop their story on their own—but they should allow one of these kinds of characters to board their train, even if for a fleeting reference.

If you have a “train trunk” story and can retcon one of these characters into it seamlessly, without it looking like a shoehorn, awesome. Ultimately, we’re looking for you to tell us a good story.

We invite you to take us on a journey.

SUBMISSION DETAILS:

== We’re looking for your stories of trains—fantasy, steampunk, science fiction, horror, slipstream, urban fantasy, apocalyptic, set in any time, any place,—we’ll buy a ticket on all of them. We’d like to see what you can do with a train. A good part of your story should take place on a train—or most, if you can do it. We don’t care what era, what planet, or how the train might look differently there (it might even be alive!) or even if the train is moving. We just want that train—what you do with it is your magic.

== The Fantastic Trains anthology will reflect as broad a spectrum of stories as possible; highlighting unique styles and manners.

== Stories should contain a train in them. We don’t really believe you missed that one, but we’re just making sure. The whole story doesn’t have to be on the train, but a train should figure in the story. It can be moving, broken, stalled, a relic in a museum, or a prototype, even a toy train. But it needs to be there. Because people will buy this anthology because your story uses a train!

== We are aiming towards two audiences, those who love speculative literature and people who love trains—remember that. Train aficionados are amazing people who love every detail about trains—the history, the specs, the technical parts. Capture that kind of love too if you can! Be accurate about trains, as much as fiction can be.

== Stories must contain one of the “locomotif” minor characters as a walk on, or used however you want to use them. You should indicate the letters (A,B,C, etc) of the locomotifs you’re using below your contact information on the first page of the submission story itself.

== Submissions must be speculative fiction: science fiction, fantasy, dark fantasy, magic realism, slipstream, supernatural horror, modern fantasy, fantasy noir, weird tales, alternate history, space opera, planetary adventure, surrealism, superheroes, mythic fantasy, etc.

== Submissions should be short fiction.

== The maximum length for stories is 5,000 words, with shorter works preferred.

== The Fantastic Trains anthology is open to submissions from everyone, from every country, and we specifically encourage historically-underrepresented groups, of any race, gender or gender expression, LGBT, class, or ability.

== Authors who write in languages other than English are welcome to submit an English translation of their work, provided it otherwise falls within the parameters of this anthology. Translation into English is the sole responsibility of the author. Please supply details of original publication for any submission that originally appeared in a language other than English.

== Deadline: September 30, 2017 (midnight EST).

== Do not query before submitting.

== Email submissions to: fantastictrains@gmail.com

== Emails MUST contain the word “submission” in the subject line, or they will be deleted automatically by the server. Please also include the story title in the subject line.

== Submissions MUST come in an attachment: only .RTF and/or .DOC formats are acceptable.

== Emails MUST contain a cover letter in the body of the email; for security reasons, email attachments with no cover letter will be deleted unread and unanswered.

== Cover letter: include your name, the title of your story, your full contact information (address, phone, email), and a brief bio. Also include the locomotif(s) you are using.

== Do not describe or summarize the story.

== Reprints (stories having previously appeared in English in any format, print or electronic, including but not limited to any form of web publication) will not be considered.

== Submission format: no strange formatting, color fonts, changing fonts, borders, backgrounds, etc. Leave italics in italics, NOT underlined. Put your full contact information on the first page (name, address, email address, phone). No headers, no footers, no page numbering. DO NOT leave a blank line between paragraphs. Indent paragraphs. ALWAYS put a # to indicate scene breaks (a blank line is NOT enough).

== ALWAYS include your full contact information (name/address/email/phone number) on the first page of the attached submission.

== Payment for short stories is prorated as follows: $50 for stories up to 1,500 words, rising to a maximum of $150 for stories up to 5,000 words.

== Rights: for original fiction, first World English publication, with a two-month exclusive from publication date; for all, non-exclusive anthology rights; all other rights remain with the author.

== Spelling: please use standard American English spelling.

== Response time: initial responses (no / rewrite request / hold for further consideration) will be prompt, usually within fifteen days. Please query if you’ve not heard back within 30 days. Final responses no later than 15 December 2017.

== Submit only one story. Multiple submissions will not be accepted.

== Simultaneous submissions will not be accepted.

== Publication: May (e-book) and Sept/Oct for trade paperback.

== Email submissions to: fantastictrains@gmail.com

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30 September 2017 — Tales of Ruma — Azure Keep

Tales of Ruma is an anthology of stories inspired by Greek and Roman mythology. Some of the stories are set in the world of the Ruma: Dawn of Empire tabletop role playing game, while others are in worlds of their own, perhaps even alternate versions of Earth. The anthology will be released in paperback and electronic (epub and mobi) format, with potentially a hardcover limited edition.

LENGTH: 500-5000 words.

WHAT WE WANT: Original stories set in the world of Ruma, Earth, or another world, which build upon the themes (such as heroism, the gods, and the arcane) and imagery of Greek and Roman mythology. Please see below for additional details on the world of Ruma. Stories set in the world of Ruma do not have to meet any exact criteria as the world is fluid so anything can fit somewhere. Preference is for stories of the fantasy genre rather than modern, steampunk, or sci-fi.

WHAT WE DON’T WANT: We would rather not see anything overly sexual or with excessive violence/swearing. The audience level is teen and above.

FORMAT: RTF or DOC/DOCX in Standard Manuscript Format, or as close as possible.

SEND SUBMISSIONS TO: Please send submissions to seneschal at azurekeep dot com, with “Tales of Ruma Submission” in the subject line. Limit of 1 submission per author.

PAYMENT: $0.06 per word + contributor copy (paperback and electronic). Payment upon acceptance via PayPal.

RIGHTS SOUGHT: First Worldwide print and electronic English language rights. Exclusivity for 90 days from date of release. Non-exclusive print, ebook, and audio rights afterward. Copyrights for stories set in the world of Ruma remain with the author.

ABOUT THE WORLD OF RUMA: Ruma is an alternate Roman Empire set on an alternate version of Earth where the gods and magic are real. The RPG is set at the beginning of the Ruman Empire, somewhat akin to 0 A.D. on Earth. Hellas (Greece) has been reduced to ruins as Hellene magi opened portals to Hel and the Outer Realms to stop a Persyan invasion (known as the Sundering). Aegypt, also known as the Eternal Kingdom, has been ruled by the Pharaoh (rumored to be a Lich) for centuries. Their armies are archaic but augmented by magi and massive stone constructs. The Kell or Kellic people (based on Celtic society) and their mystical forests encroach upon Ruma from the west. Other cultures include the Normen (precursor to Vikings), Heermen (Germanic tribes), and the missing people of Atlantys.

The Ruman pantheon is the same as the Roman pantheon, with Iuppiter ruling Mount Olympos (which has been moved to the hills south of the city of Ruma after the Sundering of Hellas). The only big difference is Mars, who is more of a god of violence and murder than a god of war. Minerva (Athena) is the prominent goddess of war and tactics, and is venerated by the Ruman military.

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7 October 2017 — Cosmic Caravans — ed. Bob Brown, Cheyenne Brown, and Nathan Ockerman; B Cubed Press

B Cubed Press is proud to open Cosmic Caravans for submissions. Cosmic Caravans is a science fiction anthology that will focus on Pre-Teen readers. The work will be illustrated.

We are looking for stories or poems that re-enforce strength of character and scientific principles in a way children can relate to. We want to entertain and challenge curious readers to learn more about the universe, life, and the science that makes it all possible.

See our Facebook Group, Cosmic Caravans Anthology.

Your sci-fi story or poem can be funny, scary, somber, mystery, wibbly-wobbly, thriller, or a fantastical romp through time and space. Whatever it is, you should be sure to explain the science behind it. Leave the reader learning something.

Cosmic Caravans, from B Cubed Press: we’re putting the science back in fiction.

Guidelines + Other Info

== Submissions can range from 300-3,000 words. We’re looking for quality over quantity.
== Stories must be presented in age appropriate ways. Anything over a “PG-13” rating will be automatically rejected. If Star Trek wouldn’t air it, it’s too risky.
== Fanfiction is not allowed. Sorry/not sorry.
== Payment is $.02 a word, plus a royalties share. Poetry pays $0.25 per-line (up to $25).
== Submissions are open from July 1-October 7. Please allow 2-3 weeks for our editors to review your stories.
== Manuscript format is required. Unsure what that means? Feel free to ask!
== Reprints are accepted.
== Multiple submissions are accepted, however we ask that you notify the publisher if your story is bought elsewhere.
== Cosmic Caravan will be edited by Bob Brown, Cheyenne Brown, and Nathan Ockerman
== Submissions can be sent to kionadad@aol.com, with the subject line “Cosmic Caravan Submission; [story title].”

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31 October 2017 — This Side of the Divide — ed. Baobab Press

Baobab Press and the University of Nevada, Reno MFA Program in Creative Writing are partnering to publish This Side of the Divide, an anthology of short fiction by emerging and established authors exploring the United States West.

This exciting project will speak to the West’s newness, vastness, sense of territoriality and transience, spanning from untouched wilderness to hyper-urban settings. We’re seeking fresh, original views of the western U.S. Our aim is to capture this region’s unique essence in all of its cultural and geographic diversity.

All submissions will be reviewed, and accepted works will be edited by a committee of readers from Baobab Press and the UNR MFA Program in Creative Writing. Selected writers will receive a complimentary copy of the book and a payment of $100. Submitted stories should be around 3,000 to 5,000 words, and will need to be submitted for review no later than October 31st, 2017. Please send us your story via Submittable.

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1 November 2017 — TROUBLE THE WATERS: Tales from the Deep Blue — ed. Sheree Renée Thomas, Pan Morigan, and Troy L. Wiggins; Rosarium Publishing

She moves with deliberate grace.

Mami Wata, Momu Watu, La Sirene, Sedna, Coventina, Suijin, Mother of Waters
She is the water between us, the water within us, the water that slakes thirst, from which we were born. Water is the natural and the sacred, the functional and the necessary. All over the world, in cultures young and old, water is life and from this force, great adventures, quests, and legacies begin. And whether it is still, moves, rises, or falls, water fills us. Imagine what stories and strange tales can be told from the depths of its depths.

TROUBLE THE WATERS: Tales from the Deep Blue will be a new anthology of water-themed speculative short stories that explore all kinds of water lore and deities, ancient and new as well as unimagined tales. We want stories with memorable, engaging characters, great and small, epic tales and quieter stories of personal and communal growth. Science fiction, fantasy, horror, interstitial, and unclassifiable works are welcome. We are seeking original stories in English (2500 – 7000 words; pays 6 cents per word) from writers of all walks of life from this beautiful planet and will accept some select reprints (pays 2 cents per word). Deadline: November 1, 2017. Projected publication: November 2018, Rosarium Publishing, www.rosariumpublishing.com. Please send submissions as a .doc, .docx, or .rtf file in standard mss formatting with your name, title, and word count to: TroubletheWaters2018@gmail.com.

Please note that we are unable to accept simultaneous submissions.

Anthology Markets

If you’ve just wandered in off the internet, hi and welcome. 🙂 I do these posts every month, so if this post isn’t dated in the same month you’re in, click here to make sure you’re seeing the most recent one. If you want to get an e-mail notification when the listing is posted, get the list a week early, or get a full listing of everything I’ve found (as opposed to the two months’ worth I post here) a week early, you can support my Patreon.

Markets with specific deadlines are listed first, “Until Filled” markets (if any) are at the bottom. There are usually more details on the original site; always click through and read the full guidelines before submitting. Note that some publishers list multiple guidelines on one page, so after you click through you might have to scroll a bit.

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31 August 2017 — Hidden Animals: A Collection of Cryptids — The Dragon’s Roost Press

CRYPTOZOOLOGY: the study of and search for animals and especially legendary animals (such as Sasquatch) usually in order to evaluate the possibility of their existence

CRYPTID: an animal whose existence or survival to the present day is disputed or unsubstantiated; any animal of interest to a cryptozoologist

We’ve explored loneliness, isolation, and solitude in our first anthology. We Put the Love Back in Lovecraft in our second anthology. Now we are looking for stories involving the creatures which hide in the shadows — the monsters of cryptozoology.

Bigfoot, Nessie, el Chupacabra, The Jersey Devil — cryptids so well known that they have become part of the cultural zeitgeist.

For our new anthology, tentatively entitled Hidden Animals: A Collection of Cryptids, we are looking for lesser known cryptids, creatures of the dark corners of cryptozoology. They can be the antagonist, the protagonist, the creeping dread which drives the story, but they must be present.

What We Want:

Finely crafted works of Dark Speculative fiction which feature one (or more) of the lesser known, but established cryptids. Authors are encouraged to put their own spin on the classic creature. Make them terrifying. Make them sympathetic. Make them humorous. Above all, make them feel real.

What We Don’t Want:

Non-fiction. We want fictional stories with a plot and a well defined story arc. While we are interested in hearing about your own personal experience, or that of your friend or family member, this is not the book for that.

New Monsters. While we appreciate your creativity, we are looking for stories which feature creatures that readers will have at least a passing knowledge of. Give us your giant cats, dogboys, and lake creatures, but please do not create your own creature.

[Note: There are plenty of website which describe various cryptids. A brief list appears here.]

Stories where nothing happens. Keep the creatures in the shadows if you like, but give us something. There’s a reason that we don’t watch that show where they look for but never actually find Bigfoot.

Retreads of established stories. This is going to be a little tougher. We do want stories based on “actual encounters.” Feel free to incorporate material from real life sightings. Sprinkle the history of the creature in your prose. Do not simply give us a fictionalized version of a story that you read in another book or saw on the big or little screen.

We don’t like being sued.

Aliens. Yes, there is some overlap between the study of some cryptids (e.g., el chupacabra) and extraterrestrial beings, we are not looking for stories that exclusively feature visitors from other worlds. Maybe in a future anthology, but not this one.

Important Note: We are going for cryptozoological diversity. Towards this end, we will only accept ONE story featuring each cryptid. Authors may consider focusing on a lesser known cryptid, or getting their submissions in early.

The Specifics: We are looking for short fiction up to 6,000 words. While we prefer original material, we will consider reprints. Please query before submitting reprints. Naturally, we will only consider stories which you retain the rights to. Please provide original publication information for all reprints. Fan Fiction, Slash Fiction, and any other material containing characters or setting which you did not create, are not acceptable (so no returning to Boggy Creek). Submissions should follow standard format. For an example of what we are looking for in terms of formatting, please visit Shunn’s website. The only addendum to this is that the editor prefers Times New Roman.

Please edit your material carefully. Common spelling errors (they’re/their/there, your/you’re) may be acceptable in social media posts, but not in works submitted for publication.

Word (.doc/.docx) format is preferred, but we will also accept submissions in Open Office (.odt), and Pages (pages). Send your stories to submissions@thedragonsroost.net. In the subject line of your e-mail list “Hidden Animals,” the title of your story, and your last name. For example:

Hidden Animals / Really Awesome Story / I. M. Ayeti

E-mails which do not follow this format will be deleted unread.

Provide a short (500 words or less) biography in the body of your e-mail. Also, feel free to provide a brief description of the cryptozoological being which appears in your story along with links and/or citations.

We are looking for North American Print and Digital Rights. Rights revert back to the author upon publication. Submissions accepted until 31 Aug 2017 or until filled. Our previous anthologies have each closed to submissions a month or more before the deadline. For this book, we are only looking for 13 – 15 stories (instead of the 21 – 30 stories of our previous anthologies) Don’t delay, start writing today!

Please wait four weeks before querying.

Direct queries to editor@thedragonsroost.net.

Multiple submissions are OK, but please wait until you have received a response on your first piece before submitting your second. Simultaneous submissions: no.

Estimated publication date Winter 2017 via Create Space and Smashwords.

At this time payment is three cents per word ($0.03/word) plus one contributor’s copy and one digital version in the format of the author’s choosing. We will be running a crowd sourcing campaign with the goal of providing higher monetary recompense to our authors. As with our previous anthologies, this is a charity anthology to raise money for the canine rescue organization Last Day Dog Rescue.

Note to New Authors: Most publications seek First North American Rights. While you may be able to sell your story again as a reprint, publication in this anthology may limit your story’s future marketability and may affect the amount of money you will be able to receive from other markets. Please take this into consideration before submitting.

***

31 August 2017 — Mother of Invention — ed. Tansy Rayner Roberts and Rivqa Rafael; Twelfth Planet Press

Mother of Invention will feature diverse, challenging stories about gender as it relates to the creation of artificial intelligence and robotics. This ambitious anthology from award-winning Australian publishing house Twelfth Planet Press will be edited by Tansy Rayner Roberts and Rivqa Rafael.

From Pygmalion and Galatea to Frankenstein, Ex Machina and Person of Interest, the fictional landscape so often frames cisgender men as the creators of artificial life, leading to the same kinds of stories being told over and over.

We want to bring some genuine revolution to the way that artificial intelligence stories are told, and how they intersect with gender identity, parenthood, sexuality, war, and the future of our species. How can we interrogate the gendered assumptions around the making of robots compared with the making of babies? Can computers learn to speak in a code beyond the (gender) binary?

If necessity is the mother of invention, what exciting AI might come to exist in the hands of a more diverse range of innovators?

WHAT WE WANT

We want to cover a variety of AI tropes, from the virtuous to the dangerous, from the purely computerised to the freshly built physical body. We want robots and programs and disembodied voices and steampunk and nanotech. We want stories that unpick the erroneous gendered assumptions around biological reproduction that so often underpin AI stories (do people who can gestate still want to make robots? We think so!). We’ll even accept sexbots and Stepford spouses if the story is good enough. It became pretty clear during our crowdfunding campaign that the notion of “feminist robot stories” struck a chord with our readership, so keep that in mind.

We anticipate that some stories will tackle gender issues (broadly defined) directly; others indirectly. Both approaches are OK! The only hard-and-fast rule is that the CREATOR of the AI or robot must not be a cis man. All other characters in the story, including the robots/AIs themselves, can be of any gender (or non-gendered), and we welcome other exploration of gender in this area too. (We also stress that the protagonist need not be the creator!)

Point of view, theme, setting, everything else is completely up to the author. We’re looking for a diverse range of authors, story settings, time periods, cultural backgrounds and protagonists. Magic, history, fantasy, steampunk and mythology are all options for you to play with; we do not require this to be a 100% science fiction anthology.

In addition to stories about women (both cis and trans) as creators of robots and AI, we are explicitly interested in stories about creators who are trans men or non-binary people (including but not limited to agender, bigender, transfeminine and transmasculine non-binary folk). The creator (or other characters, of course) can be intersex, regardless of gender. We’re especially interested in own voices authors in the case of trans and/or intersex protagonists.

We’re interested in hearing from marginalised writers more generally: for example, people under the QUILTBAG umbrella, including intersex people; people of colour, including Indigenous and Native writers from around the world; and disabled people. That said, we also welcome stories from authors who aren’t marginalised. Please don’t self-reject – we want your stories! If you feel your intersections are relevant to your story, you may mention them in your cover letter, but this is not required. We respect your privacy.

THE NITTY-GRITTY

We are looking for stories of 500–5000 words, within our stated theme and not published previously in any medium, including limited audience media such as Patreon. Payment is US$0.06 per word.

Submissions open on 6 July 2017 and close on 31 August 2017.

Send your story to motherofinvention AT twelfthplanetpress DOT com in DOC, DOCX or RTF format.

No multiple submissions or simultaneous submissions. We aim to respond to all submissions by the end of November 2017.

***

31 August 2017 — Schoolbooks & Sorcery — ed. Michael M. Jones

SCHOOLBOOKS & SORCERY: A QUEER-INCLUSIVE YA URBAN FANTASY ANTHOLOGY

Take high school. It’s weird, confusing, complicated, and frustrating. It’s a time of growth and change, when teens start discovering what they’re made of and who they want to be. Now throw in magic. What happens? That’s the premise of this new YA anthology. Schoolbooks & Sorcery is what happens when you take all the normal ups and downs of high school, inject a healthy dose of magic, shake, stir, and serve.

Editor Michael M. Jones (Scheherazade’s Façade) is looking for YA urban fantasy stories which incorporate the themes of sorcery, magic, and enchantment. The magic can come from within, as an intrinsic ability or a family trait, or from without, in the form of talismans, training, or teaching. Protagonists can be wizards, witches, sorcerers, magicians, shamans, apprentices, or practitioners of more esoteric traditions. Whether they pick it up on their own (accidentally or on purpose), learn from a master, or go to school for institutionalized training, they’ll be involved with magic to some degree. Or, of course, the protagonist could be without magic, and stumble into a world beyond their immediate knowledge. If authors wish to set something in a magical school of their own devising, or in a previously-established setting, that’s perfectly fine. But it doesn’t necessarily need to be set at a school, magical or otherwise, so long as the main characters are of the right age set.

Just about every culture has some sort of tradition involving people who dabble in the supernatural to one end or another, and there’s a vast amount of potential left to be tapped in this genre, especially with teenage protagonists. Whether they’re wizards-in-training, voodoo princesses, the last descendant of an infamous historical figure, the newest apprentice in the family business, or just someone in the wrong place at the right time, the stories are endless.

Schoolbooks & Sorcery is also designed to be a queer-friendly YA anthology, embracing the full spectrum of sexuality and gender identification, while offering a wide selection of satisfying, entertaining, fascinating, powerful stories in which the mundane and the magical overlap and interact. Stories are encouraged to take place in the overlapping area between urban fantasy, high school, and LGBTQ issues and themes. Stories should send the message that it’s not just okay to be gay, it’s okay to be gay and to have the same crazy, wicked, scary, seductive, exciting, magical, strange, funny, romantic, dark adventures as everyone else. We’re looking for stories which are all-inclusive, with the characters writers have been dying to write and readers clearly want to see, diverse and interesting, with an underlying current of tolerance and acceptance. Obviously, we’re looking for a wide range of themes, tones, and voices.

IN ADDITION TO THE BELOW, I AM SPECIFICALLY LOOKING FOR THE FOLLOWING:

1) Stories with gay, trans, non-binary, genderqueer, genderfluid, and/or asexual characters… or other facets of the LGBTQ+ spectrum not specifically mentioned. Because I am trying to achieve a certain balance of representation, I am not looking for lesbian stories at this time

2) I also heavily encourage characters of color, neurodiverse characters, disabled characters, characters from outside the United States, and stories which reflect under-represented voices or experiences. The same goes for the authors!

TECHNICAL DETAILS:

All stories should be between 2000-6000 words.

All stories must involve magic, and those who practice magic. This covers wizards, witches, sorcerers, magicians, shamans, and other traditions not specifically mentioned. This covers self-taught characters, those whose power is intrinsic or passed down through a family, those who find objects of power or books of spells, those who study with a teacher, those who go to school for magic, and so on. Other paranormal elements, such as vampires, werewolves, ghosts, or fairies, are welcome, as long as they don’t overshadow the primary theme.

Paranormal romance elements are also welcome, but this is not specifically intended as a romance anthology. Romance is good, but not necessary.

All stories must be considered YA.

Stories should be set in modern times/on Earth, but authors are encouraged to use a variety of settings, cultures, and influences to flesh out their characters and world building. Again, one of the primary goals here is to explore diversity.

While LGBTQ elements are not required, they are highly encouraged, as are protagonists who defy traditional roles and labels. (As in “girls doing boy things” and “boys doing girl things”.) More importantly: no story will be turned away for containing LGBTQ characters or elements, unless it violates the other guidelines.

Stories will not be censored for language, drinking, drugs or sexual situations; however, such things must be in moderation, appropriate to the circumstances, and tastefully handled. In movie rating terms, stories would thus fall into the PG-13 range. (To be handled as necessary. We’re not afraid of some bad words now and again…)

All stories will maintain a positive atmosphere concerning sexuality, gender, race, religion, and so on. While individual characters (most likely antagonists) may express biased, prejudiced, or phobic sentiments, or characters may deal with negative situations, the ultimate goal is to promote tolerance, acceptance, and positivity.

PLEASE NOTE: I have already seen a number of stories which address bullying. While I’m still open to considering stories incorporating this theme, I’d like to see some more variety to help round things out.

DEADLINE: August 31, 2017

SUBMISSION ADDRESS: All submissions may be sent to Facadeantho@gmail.com. Please address any questions or queries to that address as well.Submissions should be sent as an attachment, as .rtf or .doc.

PAYMENT: Payment will be 6 cents a word, plus electronic and print contributor copies.

FORMATS: Schoolbooks & Sorcery will be released simultaneously as a trade paperback and an ebook, by Ultra Violet Press, an imprint of Circlet Press.

EDIT AS OF 8/7/2017

Because I’ve been getting numerous submissions which don’t suit my needs, I find myself in the position of placing certain things at the very top, in the hopes people will read them.

1) The word limit of 2000-6000 is strict. I will not consider anything which goes over. Seriously. I have a budget to think of.

2) No multiple submissions without asking me first. One per author per attempt.

3) No reprints. I’m sorry, I want original stories only. If you really have something which you think is perfect, ask me first.

4) It must be YA. That’s generally an age range of 12-18, but when in doubt, think “high school.” Grades 9-12. That general period.

5) It must be urban fantasy. No science fiction, no epic fantasy, no horror, no fanfic… stories which mix the “here and now” with fantastic elements. -Very- near future is okay, as is relatively recent past, but certainly nothing beyond the start of the 20th Century.

6) Your story MUST contain visible LGBTQ characters, and within that, specifically, transgender, non-binary, genderqueer, genderfluid, asexual, aromantic, gay, or facets of the spectrum not specifically mentioned. I’m very sorry, but I have enough stories with predominantly lesbian protagonists or relationships. If I don’t see visible evidence, I’ll be forced to assume that everyone is straight/hetero/cis, and that’s not the point of this particular call for submissions. I have several stories already in hand which cover that end of things.

7) See #6. I’m going to get increasingly cranky if people keep breaking this one. I’m not saying your character needs to burst into the scene going “IIIIII’MMMMMM TRAAAAAANS” and doing a song and dance routine, but if I don’t see some sign of what I’m looking for… well, y’know. I’m a reasonable editor, but I know what I want, and no amount of not giving me what I want is going to make me magically accept something which doesn’t fit the criteria.

***

1 September 2017 — The Beauty of Death 2 — Death by Water — ed. Alessandro Manzetti and Jodi Renee Lester; Independent Legions Publishing

Independent Legions Publishing is seeking original horror stories in English for the new anthology The Beauty of Death 2 — Death by Water, edited by Alessandro Manzetti and Jodi Renée Lester, to be published October 2017 in print and digital editions.

We’re looking for stories that fit the theme: Death by Water. All types of horror are welcome. Sex or violence in a story should be artistically justified; no excessive gore. No stories about child abuse of any kind. We welcome all subgenres and forms of speculative fiction.

Word Count: We are open to stories of 4000-5000 words.
Deadline: September 1, 2017
Pay Rate: We pay (via PayPal) $100 for each original story.
We buy first exclusive English-language rights for three years.

We do not accept multiple or simultaneous submissions, nor do we accept unsolicited reprints.

Submissions should follow standard manuscript format (12 pt Times New Roman or Courier fonts, 1” margins all around, line spacing 1½ or 2 spaces). It must be in .doc or .docx format or it will not be considered. Your name and contact information must be at the top of the first page of the story. Page numbers with author’s last name and/or partial story name on subsequent pages would be appreciated.

Cover letter is optional, but if you do include one, please add a short bio (up to 200 words).

Response time is currently within four weeks. After that, if you haven’t heard from us, please query. We will not be sending confirmations of receipt.

To submit a story, go to our story submission form below. To submit your story via email, put “SUBMISSION – TBOD2” in the subject line and send to: a.manzetti@hotmail.it.

***

30 September 2017 — Tribe Anthology — ed. Lois Peterson

TRIBE: A print anthology about the lives of older single women seeks work by emerging and experienced writers, providing insights into the situations and roles of older single women in our times.

Contributors:

Women aged 55+
From anywhere in the world
Single, which for our purposes means:
== You are single – by choice or circumstance – widowed or divorced
== Do not currently live, or plan to live, in a permanent domestic relationship with a partner of either gender

We are looking for well-written prose, poetry, prose poems, memoir, personal narrative, fiction ….Your submission could be about sexuality, health, music, family, reading and writing, travel, the outdoors and nature, dating, finances, art, creativity, loneliness, community, volunteerism, work, politics…

Your work could be serious, humorous, self-reflective, dramatic — about the condition of single life in modern times – your own experience and those of women you know, philosophical, sociological, analytical, revelatory…

We especially welcome work that reflects diversity.

Previously published work will be considered.

Prose submissions 1,200 words to 3,000.
Poetry max 45 lines

Submit:

Completed work – no queries

A maximum of two pieces of prose and/or two piece of poetry from each submitting writer

Complete submissions sent at one time as a single Word attachment

Include in the attachment:

== Your name
== Mailing address
== Email and phone#
== Month and year of birth
== If your submission has been published previously, please include info. about where and when

Rights: First North American Serial rights… the rights to the work return to the author 30 days after publication.

Email to tribeanthology@outlook.com with ‘Submission ^your last name^’ in the subject line.

Submissions accepted period May 1 – September 30, 2017

Remuneration: Initially* $25.00 CAN per piece (paid on acceptance), plus two copies of the anthology. *Sales/profits will determine further royalties paid to contributors.

50% of net profits will be donated to a charity, tbc.

Authors of work accepted for the anthology will be given the opportunity to sign off on any editorial changes made to their work prior to publication.

Tribe will be published by LPwordsolutions of Nanaimo, BC.

Submitting authors will be periodically informed of the progress of the project.
The publisher retains the right to cancel the project if the work submitted is not of the caliber required.

We are unable to provide specific editorial comment on submissions that are not accepted for the anthology, but will try to respond in a timely manner to all writers’ submissions and enquiries

We will also be seeking line drawings for the cover art and inside pages. Please contact tribeanthology@outlook.com for further details.

[NOTE: there’s more info on what the editor is looking for on the project web site. If you’re interested, click through and poke around.]

***

30 September 2017 — Our Golden Gang: The He-Man Woman-Haters Club — EMRE Publishing

This will be an anthology of short stories that depicts “Our Gang-type” plots using the above characters. [Click through for a long list of names with photos.] President Trump’s rich pals will be playing inside the luxurious confines of Mar-a-Lago. Every summer, Donnie “Golden Boy” Trump invites all his friends to spend a couple of months at his big club in Palm Beach, Florida. Guests from around the world stay there, and the kids in Trump’s “Our Golden Gang” get into plenty of mischief. Although they will be depicted as children, these characters will keep their adult names (on left). Each child will be a mixture of the adult’s persona and the Our Gang character’s persona. He or she will be a child, however, and the troubles they get into at Mar-a-Lago will be childish in nature. Satire is accepted, but humor will be the thread of enjoyment throughout each story in this anthology.

Writers who submit can use old plots from the Our Gang films and update them to fit the present (technology, clothing, etc.). Stories are set in present day, although don’t give specific dates. Villains can be people from the present (Hillary Clinton, Barack Obama, Vladamir Putin, etc.), or you can invent others.

The first anthology in the series is called “The He-Man Woman-Haters Club.” All stories must mention this club in the story, although the club need not be the main emphasis in the plot.

Payment: 6 cents per word (Paid by Paypal only upon publication)

Anthology #1: He-Man Woman-Haters Club

Length: 3,000 to 5,000 words

Use Standard Manuscript Formatting.

Submit to: Submittable Online System

Socialize and get ideas at our Facebook Page.

For those authors who intend to submit to our anthology, then join this group.

Print and Digital Anthology

***

30 September 2017 [or Until Filled] — Tales of Blood and Squalor — Dark Cloud Press

Wretched, low-class characters living in filth and poverty. With lots of misery and blood.

Dark Cloud Press is cobbling together a short fiction anthology of horror and psychological thrillers in ebook and trade paperback. The subject matter can be anything you want, so long as it includes both blood and squalor.

We all know what blood is. It’s spilled accidentally. Or worse, on purpose—often ending in death. But squalor…


SQUALOR: n. A quality or state marked by filthiness
and degradation from neglect or poverty.
Synonyms: sordid, wretched, seamy, seedy.

What We’re Looking For

The best example of what we’re looking for in stories for this antho is season 4, episode 2 of The X-Files, titled “Home,” which aired October 11, 1996. Find it. Watch it.

Literary examples include:

== Jack Ketchum’s Off Season
== Cormac McCarthy’s Child of God
== Truman Capote’s In Cold Blood

Write an original story that adheres to the guidelines detailed here. Don’t be limited by this list, but here are a few examples:

== Murder in a trailer park
== Blackmail gone awry in the inner city
== Revenge in a failed mining town
== Sinister events on the rural farm
== Deadly dealings on the other side of the tracks in small-town America

NOTE: We’re not looking for anything as hardcore as Off Season (be sure to study our general submission guidelines). And no slasher stories with buckets of blood, either. But blood and squalor, yes.

We want atmospheric horror in a squalid setting, or scenes under squalorous conditions, wretched characters, and a psychologically thrilling conclusion spattered with blood.

Scare us. Shock us. Make us reel.

HINT: You’ve got a better chance at hooking the editor if you write like Donald Westlake instead of H.P. Lovecraft.
Submission Guidelines

The anthology will contain 40,000+ words of original psychological thrillers and horror, 2500–5000 words each (3000–4000 preferred). It will be published in trade paperback and Kindle format, both available on Amazon.com.

== No previously published works.
== No multiple submissions.
== Electronic submissions only (.doc or .docx format).
== In your cover email, briefly introduce yourself, list your publication credits, and share what you’ll do to help market the book.

Format

Your manuscript must follow the format guidelines listed under Manuscript Format. Microsoft Word .doc or .docx files only.

Content Standards

DCP’s books entertain readers with meaningful dark fiction—spellbinding stories with a minimum of adult language and sex. DCP anthologies give readers an entertaining, thrilling, scary, imaginative read, leaving them with something important to ponder.

If you want your story to pass muster, follow Content Standards.

Submission Period

August 1 to September 30, 2017, or until filled.

Rejections may come sooner, but acceptance responses will be sent starting in October 2017.

Publication is slated for Spring/Summer 2018.

Rights Purchased

First World English (print) and First World Electronic (ebook) rights for a term of three years from date of publication.

Payment

Three cents a word upon acceptance, no royalties. For more information, see Payment.

Submission Email

Email your story as an attachment (.doc or .docx only) to editordarkcloudpresscom with “TBS Submission: Story Title by Author Name” in the subject line.

Questions?

Contact the editor at the above email address.

Good luck, and write well!

***

30 September 2017 — Fantastic Trains: An Anthology of Phantasmagorical Engines and Rail Riders — ed. Jerome Stueart and Neil Enock; EDGE Science Fiction and Fantasy Publishing Inc.

Does a train whistle in the distance make you excited, wistful, or afraid? Trains have fired the imaginations of many people, especially writers. Anna Karenina, Night on the Galactic Railroad, The Signal Man, Strangers on a Train, The Lady Vanishes, Murder on the Orient Express all use trains as their main setting, not to mention the trains in children’s books—like Thomas the Tank Engine, The Little Engine that Could, and The Polar Express.

As travelers, we’ve been spurred to go farther because of trains, see new things, take chances. Trains have also, sometimes, pushed us too far, sliced the wilderness, inserted us into places to draw out resources, assisted in invasion. Trains, in a sense, even created Time as we know it. Trains altered our perceptions of identity, place, even of destiny. Suddenly, people could travel far away quickly, leave their families and homes for a better life, or opportunity—or people could escape the destiny of location. Step on a train, and you never know what you might find, or with whom you might cross paths. In essence, trains are Change.

We’re looking for your stories of trains—fantasy, steampunk, science fiction, horror, slipstream, urban fantasy, apocalyptic, set in any time, any place,—we’ll buy a ticket on all of them. We’d like to see what you can do with a train. A good part of your story should take place on a train—or most, if you can do it. We don’t care what era, what planet, or how the train might look differently there (it might even be alive!) or even if the train is moving. We just want that train—what you do with it is your magic.

This book will be both for lovers of the fantastic, and train aficionados. Think about how trains change the lives of people who travel on them, or how trains are used. Think about those people who love them, and know so much about trains, and why as children we were amazed. We want good character stories. We also want to see that you’ve thought about how your train runs. Make us feel like we’re on it. Make it fantastic!

THE TWIST: The Locomotifs

We’re looking for an author to choose one or more archetypal minor characters from the following list and interpret them through the lens of their story (their time, place, genre, etc.) as purely background characters, or, if you want, a main or POV character.

They can be combined too into a composite type character. An author would not HAVE to choose more than one, but one of these must pass through your story. (You will need to mention who you’ve chosen on your submission, under your contact information, using the letter(s) appropriate.) These characters are not named, nor is there any requirement for nationality, gender, race, ability/disability, gender expression, etc. You are free to interpret.

Here are the ten we’d like you to consider:

A) The Schemers: a couple with a plan
B) The Dreamer: someone who speaks about, or gives value to, his/her dreams;
C) The Detective: a person trying to solve something—a riddle, a puzzle, a mystery;
D) The Reluctant: someone who doesn’t want to get on, or perhaps, leave the train;
E) The Adventurer: someone who believes they are on an adventure;
F) The Guide: a mentor, a knowledgeable person about place, trains, etc.
G) The Box: a mysterious piece of cargo with important implications to someone.
H) The Lovers: a couple at any stage of love
I) The Knight: someone who will fight for a cause, theirs, or one they are given
J) The Seeker: someone who doesn’t know, but who wants to learn

We think the recurring nature of these “locomotif” characters through the collection will have an effect on the reading brain. We think readers will create connections and stories of the minor characters between these very different stories; they will link them up like train cars. Readers will make connections and see arcs by the juxtaposition of stories. (Think Cloud Atlas.)

You are invited NOT to take them literally. The Detective probably shouldn’t be a detective, but someone who is trying to solve a puzzle, a personal mystery, with a detective’s sensibilities. (And damned if Murder on the Orient Express’ trailer didn’t just use a similar concept by introducing characters as “types”—ignore that. We’d love to be original, but archetypes are very very old, and they’re not necessarily job-oriented, as they are in that trailer. But Christie’s MotOE is a great example of a train story!) Also, do not think that you need to try to fit in all ten. That’s like trying to meet everyone riding on your train. You can do it, but it takes too much time away from you.

Authors, of course, are free to develop their story on their own—but they should allow one of these kinds of characters to board their train, even if for a fleeting reference.

If you have a “train trunk” story and can retcon one of these characters into it seamlessly, without it looking like a shoehorn, awesome. Ultimately, we’re looking for you to tell us a good story.

We invite you to take us on a journey.

SUBMISSION DETAILS:

== We’re looking for your stories of trains—fantasy, steampunk, science fiction, horror, slipstream, urban fantasy, apocalyptic, set in any time, any place,—we’ll buy a ticket on all of them. We’d like to see what you can do with a train. A good part of your story should take place on a train—or most, if you can do it. We don’t care what era, what planet, or how the train might look differently there (it might even be alive!) or even if the train is moving. We just want that train—what you do with it is your magic.

== The Fantastic Trains anthology will reflect as broad a spectrum of stories as possible; highlighting unique styles and manners.

== Stories should contain a train in them. We don’t really believe you missed that one, but we’re just making sure. The whole story doesn’t have to be on the train, but a train should figure in the story. It can be moving, broken, stalled, a relic in a museum, or a prototype, even a toy train. But it needs to be there. Because people will buy this anthology because your story uses a train!

== We are aiming towards two audiences, those who love speculative literature and people who love trains—remember that. Train aficionados are amazing people who love every detail about trains—the history, the specs, the technical parts. Capture that kind of love too if you can! Be accurate about trains, as much as fiction can be.

== Stories must contain one of the “locomotif” minor characters as a walk on, or used however you want to use them. You should indicate the letters (A,B,C, etc) of the locomotifs you’re using below your contact information on the first page of the submission story itself.

== Submissions must be speculative fiction: science fiction, fantasy, dark fantasy, magic realism, slipstream, supernatural horror, modern fantasy, fantasy noir, weird tales, alternate history, space opera, planetary adventure, surrealism, superheroes, mythic fantasy, etc.

== Submissions should be short fiction.

== The maximum length for stories is 5,000 words, with shorter works preferred.

== The Fantastic Trains anthology is open to submissions from everyone, from every country, and we specifically encourage historically-underrepresented groups, of any race, gender or gender expression, LGBT, class, or ability.

== Authors who write in languages other than English are welcome to submit an English translation of their work, provided it otherwise falls within the parameters of this anthology. Translation into English is the sole responsibility of the author. Please supply details of original publication for any submission that originally appeared in a language other than English.

== Deadline: September 30, 2017 (midnight EST).

== Do not query before submitting.

== Email submissions to: fantastictrains@gmail.com

== Emails MUST contain the word “submission” in the subject line, or they will be deleted automatically by the server. Please also include the story title in the subject line.

== Submissions MUST come in an attachment: only .RTF and/or .DOC formats are acceptable.

== Emails MUST contain a cover letter in the body of the email; for security reasons, email attachments with no cover letter will be deleted unread and unanswered.

== Cover letter: include your name, the title of your story, your full contact information (address, phone, email), and a brief bio. Also include the locomotif(s) you are using.

== Do not describe or summarize the story.

== Reprints (stories having previously appeared in English in any format, print or electronic, including but not limited to any form of web publication) will not be considered.

== Submission format: no strange formatting, color fonts, changing fonts, borders, backgrounds, etc. Leave italics in italics, NOT underlined. Put your full contact information on the first page (name, address, email address, phone). No headers, no footers, no page numbering. DO NOT leave a blank line between paragraphs. Indent paragraphs. ALWAYS put a # to indicate scene breaks (a blank line is NOT enough).

== ALWAYS include your full contact information (name/address/email/phone number) on the first page of the attached submission.

== Payment for short stories is prorated as follows: $50 for stories up to 1,500 words, rising to a maximum of $150 for stories up to 5,000 words.

== Rights: for original fiction, first World English publication, with a two-month exclusive from publication date; for all, non-exclusive anthology rights; all other rights remain with the author.

== Spelling: please use standard American English spelling.

== Response time: initial responses (no / rewrite request / hold for further consideration) will be prompt, usually within fifteen days. Please query if you’ve not heard back within 30 days. Final responses no later than 15 December 2017.

== Submit only one story. Multiple submissions will not be accepted.

== Simultaneous submissions will not be accepted.

== Publication: May (e-book) and Sept/Oct for trade paperback.

== Email submissions to: fantastictrains@gmail.com

***

7 October 2017 — Cosmic Caravans — ed. Bob Brown, Cheyenne Brown, and Nathan Ockerman; B Cubed Press

B Cubed Press is proud to open Cosmic Caravans for submissions. Cosmic Caravans is a science fiction anthology that will focus on Pre-Teen readers. The work will be illustrated.

We are looking for stories or poems that re-enforce strength of character and scientific principles in a way children can relate to. We want to entertain and challenge curious readers to learn more about the universe, life, and the science that makes it all possible.

See our Facebook Group, Cosmic Caravans Anthology.

Your sci-fi story or poem can be funny, scary, somber, mystery, wibbly-wobbly, thriller, or a fantastical romp through time and space. Whatever it is, you should be sure to explain the science behind it. Leave the reader learning something.

Cosmic Caravans, from B Cubed Press: we’re putting the science back in fiction.

Guidelines + Other Info

== Submissions can range from 300-3,000 words. We’re looking for quality over quantity.
== Stories must be presented in age appropriate ways. Anything over a “PG-13” rating will be automatically rejected. If Star Trek wouldn’t air it, it’s too risky.
== Fanfiction is not allowed. Sorry/not sorry.
== Payment is $.02 a word, plus a royalties share. Poetry pays $0.25 per-line (up to $25).
== Submissions are open from July 1-October 7. Please allow 2-3 weeks for our editors to review your stories.
== Manuscript format is required. Unsure what that means? Feel free to ask!
== Reprints are accepted.
== Multiple submissions are accepted, however we ask that you notify the publisher if your story is bought elsewhere.
== Cosmic Caravan will be edited by Bob Brown, Cheyenne Brown, and Nathan Ockerman
== Submissions can be sent to kionadad@aol.com, with the subject line “Cosmic Caravan Submission; [story title].”

***

1 November 2017 — TROUBLE THE WATERS: Tales from the Deep Blue — ed. Sheree Renée Thomas, Pan Morigan, and Troy L. Wiggins; Rosarium Publishing

She moves with deliberate grace.

Mami Wata, Momu Watu, La Sirene, Sedna, Coventina, Suijin, Mother of Waters
She is the water between us, the water within us, the water that slakes thirst, from which we were born. Water is the natural and the sacred, the functional and the necessary. All over the world, in cultures young and old, water is life and from this force, great adventures, quests, and legacies begin. And whether it is still, moves, rises, or falls, water fills us. Imagine what stories and strange tales can be told from the depths of its depths.

TROUBLE THE WATERS: Tales from the Deep Blue will be a new anthology of water-themed speculative short stories that explore all kinds of water lore and deities, ancient and new as well as unimagined tales. We want stories with memorable, engaging characters, great and small, epic tales and quieter stories of personal and communal growth. Science fiction, fantasy, horror, interstitial, and unclassifiable works are welcome. We are seeking original stories in English (2500 – 7000 words; pays 6 cents per word) from writers of all walks of life from this beautiful planet and will accept some select reprints (pays 2 cents per word). Deadline: November 1, 2017. Projected publication: November 2018, Rosarium Publishing, www.rosariumpublishing.com. Please send submissions as a .doc, .docx, or .rtf file in standard mss formatting with your name, title, and word count to: TroubletheWaters2018@gmail.com.

Please note that we are unable to accept simultaneous submissions.

Anthology Markets

If you’ve just wandered in off the internet, hi and welcome. 🙂 I do these posts every month, so if this post isn’t dated in the same month you’re in, click here to make sure you’re seeing the most recent one. If you want to get an e-mail notification when the listing is posted, get the list a week early, or get a full listing of everything I’ve found (as opposed to the two months’ worth I post here) a week early, you can support my Patreon.

Markets with specific deadlines are listed first, “Until Filled” markets (if any) are at the bottom. There are usually more details on the original site; always click through and read the full guidelines before submitting. Note that some publishers list multiple guidelines on one page, so after you click through you might have to scroll a bit.

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31 July 2017 — Chthonic: Weird Tales of Inner Earth — Martian Migraine Press

Pelucidar. The Hollow Earth. DEROS, and the Shaver Mysteries. Blue-litten K’n-yan, red Yoth, and black, lightless N’kai. The Amigara Fault. Derinkuyu. Agartha. The world (and worlds) below. Inner earth, a near infinite space of vast, echoing potential … our (possible?) birthplace, and the place where we all return, either as corpses, or something other? … the churning, chaotic underworld, and true home of all that is weird, unconscious, and forbidden. Descend with us in this anthology of weird fiction; descend to the realms CHTHONIC.

We are looking for weird fiction that explores the mystique and terror of caverns, abyssal spaces, and subterranean worlds. As with previous MMP anthologies, we will be including a seed story from H. P. Lovecraft’s oeuvre (in this case, The Rats in the Walls, though many of his stories went underground). We want to see bizarre civilizations, mind-boggling physical and biological phenomena, horrific rituals, mad science and madder sorcery. We want to feel the tunnel floors beneath our feet shake with the passage of beasts, machines, and gods that have never seen the light of the sun; sentient oils, intelligent muck, living rock, molemen, formless spawn and Efts of the Prime, worms, Dholes, and ghastlier things. But CHTHONIC won’t be just a serving of pop culture “surface” material, if you’ll pardon the pun. We like to see stories with depth (oh god, another one, sorry!); emotional and psychological explorations of the internal spaces of the human mind and soul, as well as the ground below. Write us stories that induce crushing claustrophobia or open us wide to new dimensions of thought and being. If your story can do both, so much the better.

Final story count for the anthology will be determined based on quality and number of submissions. CHTHONIC: Weird Tales of Inner Earth will be released as a softcover paperback and as an electronic book in multiple formats.

Submission period closes JULY 31, 2017. The anthology will be released in early December of 2017.

Submitting

Please use Standard Manuscript format when submitting. That’s double spaced, left justified, Times New Roman or Courier or something at least readable, a header on the first page (at least) with your author info and word count and… well, you know the drill. RTF or DOC files preferred, but DOCx and text files also accepted. Obviously, you could send us something that’s not in Standard Manuscript format, but it will lower your chances of it being looked at seriously.

We will look at both original work and REPRINTS.

To submit a story to CHTHONIC: Weird Tales of Inner Earth send an e-mail (with the story file attached, not in the body of the email) to: submissions@martianmigrainepress.com, with subject line: “CHTHONIC, [title of your story] [your name]”.

Length

For short fiction, we’d like to see anything from 1,500 to 7,000 words.

FLASH FICTION: got something under 1500 words? Send it in. However, the following still applies…

NO POETRY.

Payment

All accepted submissions will be paid .03CAD per word, via Paypal, as well as two contributor copies (paperback) of the anthology, and copies in all electronic formats (mobi, EPUB, and PDF). Authors are also entitled to electronic copies of three additional Martian Migraine Press titles of their choosing.

Replies and Queries

We will try to acknowledge receipt of your submission within a week of its arrival in our inbox. The submission period itself will close on July 31, 2017 and we should be responding to all submissions, yes or no, throughout the submission period and no later than August 2017. We do our best to ensure that all submissions are contacted and kept up-to-date, but sometimes items fall through cracks, so, if you haven’t heard from us by September 15 2017, please query.

***

31 July 2017 — Sharp and Sugar Tooth — Upper Rubber Boot Books

Announcing an open call for submissions for Sharp & Sugar Tooth: Women Up To No Good, an anthology of dark, speculative fiction, edited by Octavia Cade and to be published by Upper Rubber Boot Books in late 2018 or early 2019.

Sharp & Sugar Tooth is looking for creepy, seductive stories about the dark side of culinary life. The emphasis should be on the preparation, or the consumption, of food—horrifying, mouth-watering stories that make us hungry despite ourselves.

Sharp & Sugar Tooth is part of Upper Rubber Boot’s in the Women Up To No Good anthology series, so subversive, diverse stories with protagonists who identify as girls/women are appreciated. We want these characters in the kitchen—and out of it—using their butcher knives and baking skills to create meals that are dark and lovely and empowering, because consumption has a dangerous and tempting taste…

Stories can be any variety of fantasy or science fiction, provided the element of horror is present. Strong language and sex is no problem, but we’re not interested in torture-porn of humans or animals (regardless of whether they end up on a plate).

== Word/page count: Up to 5,000 words/story.
== Payment: six cents per word.
== Publication history: Original stories only. Reprints may be submitted by invitation only.
== Multiple submissions: No.
== Simultaneous submissions: No.
== Deadline: 31 July 2017. All stories will be replied to by the end of August.
== To submit: Please send stories in standard manuscript format, attached in .doc or .rtf files, to octaviacade@hotmail.com with the subject line SUGAR TOOTH. Be sure to provide mailing address and a short bio.
== If the work is a translation, please also provide a statement from the rightsholder that you are authorized to translate and submit it (both author and translator will receive full payment).

Authors must identify as female, non-binary, or a marginalized sex or gender identity.

We encourage and welcome stories from voices underrepresented in speculative fiction, including (but not limited to) writers of color, LGBTQ writers, writers with disabilities, and writers in translation.

***

31 July 2017 — The Pulp Horror Book of Phobias — ed. M.J. Sydney; Lycan Valley Press

Word count: 4,000 to 6,000
Payment: $50 per story, a digital copy of the anthology and a discount code for print copies from Lycan Valley Press

Details: Phobias are defined as an irrational and extreme fear to something. Some of the most widely known phobias include arachnophobia, claustrophobia, agoraphobia, acrophobia, etc. Anything can be a phobia if it irrationally causes an intense and debilitating fear.

What happens when these irrational fears/phobias become reality? Make the fears and the horrors associated with that fear real. Take them from irrational to rational. Pick a phobia from the list below and take that fear to the next level. Make it come to life and give us a reason to be scared. Your characters don’t have to overcome their fears, but if they do, show us how. If they don’t, why not?

We don’t want characters sitting on a sofa in the psychiatrist’s office detailing their childhood or even characters with diagnosed phobias necessarily. Focus on the object of the phobia rather than the phobia itself as much as possible. We want you to make these phobias come to life in ways that will make readers sleep with the lights on, double check the locks on their doors and question reality.

There must be a strong pulp element to the story as well, keeping in mind that pulp doesn’t mean poorly written. If you’re unfamiliar with the original pulp magazines and stories, please do some research before submitting. Check out Black Mask Magazine http://www.blackmaskmagazine.com/ and here’s a pulp archive to get you started (warning: reading on this website may be addictive).
http://www.pulpmags.org/ and also here https://archive.org/details/pulpmagazinearchive.

Although you are free to write in your own style and that which best suits the story, Lester Dent’s Pulp Paper Master Fiction Plot is here for reference should you wish to use it. http://www.paper-dragon.com/1939/dent.html Here, James Scott Bell talks about writing pulp fiction: http://www.rachellegardner.com/why-i-write-pulp-fiction/

Titles: Please do not use the name of the phobia itself in your titles.

Formatting: Please follow Shunn Short Story Manuscript formatting which can be found here: http://www.shunn.net/format/story.html. Or use the downloadable template for Word found here: http://www.shunn.net/format/templates.html

Simultaneous and Multiple Submissions: No simultaneous submissions. Multiple submissions from the same author for two different phobias will be considered but please note that only one story per author will be accepted to allow for greater variety and diversity. Previously unpublished stories only, no reprints unless requested.

Email questions to: MJSyd99@gmail.com with “PHB Question” in the subject line.

The available list of phobias as well as the submission form has moved and can now be found on the Lycan Valley Press Submittable profile at http://lycanvalleypress.submittable.com/submit under THE PULP HORROR BOOK OF PHOBIAS.

***

15 August 2017 — AFTERMATH: Explorations of Loss & Grief — Radix Media

The inevitable breakdown of a long-term relationship; losing your home due to gentrification; struggling with the deportation of a loved one; navigating the crumbling healthcare situation in Trump’s America.

How do you define loss and grief?

Radix Media presents AFTERMATH: Explorations of Loss & Grief, an anthology that will examine what it means to face the consequences after tragedy strikes. The theme is left intentionally open, giving contributors the freedom to tell their story as it is most relevant to their experiences.

SUBMISSION GUIDELINES

We prefer previously unpublished pieces (though previously published pieces will b considered on a case-by-case basis), and they can be fiction, personal essays, or poetry, between 500 and 3,000 words. We will also accept comics, illustration, and photography that will retain its integrity in black and white. Accepted works will be collected into either a zine or paperback book, depending on the volume and length of accepted works. Visual submissions should be able to fit a print size of 5″ x 8″.

CONTRIBUTORS & PAYMENT

Contributed pieces will be paid for at the following rates:

Fiction & Non-Fiction: $0.06 per word

Poetry: $35 per work

Comics, Photos, & Illustration: $10 per page or $50 per work, whichever is greater

We strongly encourage typically underrepresented voices to submit. If you are a person of color, queer, trans, disabled, or any combination of these, we would especially love to hear from you.

DEADLINE

Pieces should be submitted via e-mail to submissions@radixmedia.org by August 15, 2017. Please include your name, e-mail address, and telephone number. Also let us know if the work has been previously published or not, or whether it is currently being considered for publication by another publisher.

For written works, please paste the text directly into the body of the e-mail. For visual pieces, low-resolution versions are preferred (we will contact you for a hi-res version upon acceptance). For this call, we will accept multiple submissions, but please limit to 3.

Accepted contributors will be notified within 3-4 weeks after this deadline, and payment will be issued upon receipt of your signed publication contract.

***

15 August 2017 — Fire: Demons, Dragons and Djinns — ed. Rhonda Parrish

The ability for people to control (to some extent at least) fire has long been held as one of the major events that contributed to human evolution, but when fire eludes or escapes our control it is also one of the most destructive forces on earth. Associated with passion, power, transformation and purification, fire is a ferocious element with an unquenchable appetite.

We want to explore the many facets of this beautifully furious element and the creatures associated with it so Fire: Demons, Dragons and Djinns will be filled with stories about every kind of fiery creature you can imagine, not only those listed in the subtitle. We’re looking for phoenixes, ifrits, salamanders, lava monsters and fiery beasts no one has ever heard of before. And of course this anthology will not be complete without at least one demon, dragon and djinn!

Rights and compensation: Payment: $50 CAD flat fee and a paperback copy of the anthology. In exchange we are seeking first world rights in English and exclusive right to publish in print and electronic format for six months after publication date, after which publisher retains nonexclusive right to continue to publish for the life of the anthology.

Open submission period: June 1, 2017 – August 15, 2017

Length: Under 7,500 words

No simultaneous or multiple submissions.

No reprints.

Submit here.

Because I’ve been asked — though payment is in Canadian dollars you do not need to be Canadian to submit. Everyone is welcome.

[NOTE: there is a long section at the top of this page (actually, it’s like 3/4 of the page) where the editor talks about what she wants, what she means by “fire,” what kind of fire-inpired stories she’s hoping to get, etc., along with some pretty cool artwork. Definitely click through and check it out if you’re at all interested in this antho.]

***

31 August 2017 — Hidden Animals: A Collection of Cryptids — The Dragon’s Roost Press

CRYPTOZOOLOGY: the study of and search for animals and especially legendary animals (such as Sasquatch) usually in order to evaluate the possibility of their existence

CRYPTID: an animal whose existence or survival to the present day is disputed or unsubstantiated; any animal of interest to a cryptozoologist

We’ve explored loneliness, isolation, and solitude in our first anthology. We Put the Love Back in Lovecraft in our second anthology. Now we are looking for stories involving the creatures which hide in the shadows — the monsters of cryptozoology.

Bigfoot, Nessie, el Chupacabra, The Jersey Devil — cryptids so well known that they have become part of the cultural zeitgeist.

For our new anthology, tentatively entitled Hidden Animals: A Collection of Cryptids, we are looking for lesser known cryptids, creatures of the dark corners of cryptozoology. They can be the antagonist, the protagonist, the creeping dread which drives the story, but they must be present.

What We Want:

Finely crafted works of Dark Speculative fiction which feature one (or more) of the lesser known, but established cryptids. Authors are encouraged to put their own spin on the classic creature. Make them terrifying. Make them sympathetic. Make them humorous. Above all, make them feel real.

What We Don’t Want:

Non-fiction. We want fictional stories with a plot and a well defined story arc. While we are interested in hearing about your own personal experience, or that of your friend or family member, this is not the book for that.

New Monsters. While we appreciate your creativity, we are looking for stories which feature creatures that readers will have at least a passing knowledge of. Give us your giant cats, dogboys, and lake creatures, but please do not create your own creature.

[Note: There are plenty of website which describe various cryptids. A brief list appears here.]

Stories where nothing happens. Keep the creatures in the shadows if you like, but give us something. There’s a reason that we don’t watch that show where they look for but never actually find Bigfoot.

Retreads of established stories. This is going to be a little tougher. We do want stories based on “actual encounters.” Feel free to incorporate material from real life sightings. Sprinkle the history of the creature in your prose. Do not simply give us a fictionalized version of a story that you read in another book or saw on the big or little screen.

We don’t like being sued.

Aliens. Yes, there is some overlap between the study of some cryptids (e.g., el chupacabra) and extraterrestrial beings, we are not looking for stories that exclusively feature visitors from other worlds. Maybe in a future anthology, but not this one.

Important Note: We are going for cryptozoological diversity. Towards this end, we will only accept ONE story featuring each cryptid. Authors may consider focusing on a lesser known cryptid, or getting their submissions in early.

The Specifics: We are looking for short fiction up to 6,000 words. While we prefer original material, we will consider reprints. Please query before submitting reprints. Naturally, we will only consider stories which you retain the rights to. Please provide original publication information for all reprints. Fan Fiction, Slash Fiction, and any other material containing characters or setting which you did not create, are not acceptable (so no returning to Boggy Creek). Submissions should follow standard format. For an example of what we are looking for in terms of formatting, please visit Shunn’s website. The only addendum to this is that the editor prefers Times New Roman.

Please edit your material carefully. Common spelling errors (they’re/their/there, your/you’re) may be acceptable in social media posts, but not in works submitted for publication.

Word (.doc/.docx) format is preferred, but we will also accept submissions in Open Office (.odt), and Pages (pages). Send your stories to submissions@thedragonsroost.net. In the subject line of your e-mail list “Hidden Animals,” the title of your story, and your last name. For example:

Hidden Animals / Really Awesome Story / I. M. Ayeti

E-mails which do not follow this format will be deleted unread.

Provide a short (500 words or less) biography in the body of your e-mail. Also, feel free to provide a brief description of the cryptozoological being which appears in your story along with links and/or citations.

We are looking for North American Print and Digital Rights. Rights revert back to the author upon publication. Submissions accepted until 31 Aug 2017 or until filled. Our previous anthologies have each closed to submissions a month or more before the deadline. For this book, we are only looking for 13 – 15 stories (instead of the 21 – 30 stories of our previous anthologies) Don’t delay, start writing today!

Please wait four weeks before querying.

Direct queries to editor@thedragonsroost.net.

Multiple submissions are OK, but please wait until you have received a response on your first piece before submitting your second. Simultaneous submissions: no.

Estimated publication date Winter 2017 via Create Space and Smashwords.

At this time payment is three cents per word ($0.03/word) plus one contributor’s copy and one digital version in the format of the author’s choosing. We will be running a crowd sourcing campaign with the goal of providing higher monetary recompense to our authors. As with our previous anthologies, this is a charity anthology to raise money for the canine rescue organization Last Day Dog Rescue.

Note to New Authors: Most publications seek First North American Rights. While you may be able to sell your story again as a reprint, publication in this anthology may limit your story’s future marketability and may affect the amount of money you will be able to receive from other markets. Please take this into consideration before submitting.

***

31 August 2017 — Mother of Invention — ed. Tansy Rayner Roberts and Rivqa Rafael; Twelfth Planet Press

Mother of Invention will feature diverse, challenging stories about gender as it relates to the creation of artificial intelligence and robotics. This ambitious anthology from award-winning Australian publishing house Twelfth Planet Press will be edited by Tansy Rayner Roberts and Rivqa Rafael.

From Pygmalion and Galatea to Frankenstein, Ex Machina and Person of Interest, the fictional landscape so often frames cisgender men as the creators of artificial life, leading to the same kinds of stories being told over and over.

We want to bring some genuine revolution to the way that artificial intelligence stories are told, and how they intersect with gender identity, parenthood, sexuality, war, and the future of our species. How can we interrogate the gendered assumptions around the making of robots compared with the making of babies? Can computers learn to speak in a code beyond the (gender) binary?

If necessity is the mother of invention, what exciting AI might come to exist in the hands of a more diverse range of innovators?

WHAT WE WANT

We want to cover a variety of AI tropes, from the virtuous to the dangerous, from the purely computerised to the freshly built physical body. We want robots and programs and disembodied voices and steampunk and nanotech. We want stories that unpick the erroneous gendered assumptions around biological reproduction that so often underpin AI stories (do people who can gestate still want to make robots? We think so!). We’ll even accept sexbots and Stepford spouses if the story is good enough. It became pretty clear during our crowdfunding campaign that the notion of “feminist robot stories” struck a chord with our readership, so keep that in mind.

We anticipate that some stories will tackle gender issues (broadly defined) directly; others indirectly. Both approaches are OK! The only hard-and-fast rule is that the CREATOR of the AI or robot must not be a cis man. All other characters in the story, including the robots/AIs themselves, can be of any gender (or non-gendered), and we welcome other exploration of gender in this area too. (We also stress that the protagonist need not be the creator!)

Point of view, theme, setting, everything else is completely up to the author. We’re looking for a diverse range of authors, story settings, time periods, cultural backgrounds and protagonists. Magic, history, fantasy, steampunk and mythology are all options for you to play with; we do not require this to be a 100% science fiction anthology.

In addition to stories about women (both cis and trans) as creators of robots and AI, we are explicitly interested in stories about creators who are trans men or non-binary people (including but not limited to agender, bigender, transfeminine and transmasculine non-binary folk). The creator (or other characters, of course) can be intersex, regardless of gender. We’re especially interested in own voices authors in the case of trans and/or intersex protagonists.

We’re interested in hearing from marginalised writers more generally: for example, people under the QUILTBAG umbrella, including intersex people; people of colour, including Indigenous and Native writers from around the world; and disabled people. That said, we also welcome stories from authors who aren’t marginalised. Please don’t self-reject – we want your stories! If you feel your intersections are relevant to your story, you may mention them in your cover letter, but this is not required. We respect your privacy.

THE NITTY-GRITTY

We are looking for stories of 500–5000 words, within our stated theme and not published previously in any medium, including limited audience media such as Patreon. Payment is US$0.06 per word.

Submissions open on 6 July 2017 and close on 31 August 2017.

Send your story to motherofinvention AT twelfthplanetpress DOT com in DOC, DOCX or RTF format.

No multiple submissions or simultaneous submissions. We aim to respond to all submissions by the end of November 2017.

***

1 September 2017 — The Beauty of Death 2 — Death by Water — ed. Alessandro Manzetti and Jodi Renee Lester; Independent Legions Publishing

Independent Legions Publishing is seeking original horror stories in English for the new anthology The Beauty of Death 2 — Death by Water, edited by Alessandro Manzetti and Jodi Renée Lester, to be published October 2017 in print and digital editions.

We’re looking for stories that fit the theme: Death by Water. All types of horror are welcome. Sex or violence in a story should be artistically justified; no excessive gore. No stories about child abuse of any kind. We welcome all subgenres and forms of speculative fiction.

Word Count: We are open to stories of 4000-5000 words.
Deadline: September 1, 2017
Pay Rate: We pay (via PayPal) $100 for each original story.
We buy first exclusive English-language rights for three years.

We do not accept multiple or simultaneous submissions, nor do we accept unsolicited reprints.

Submissions should follow standard manuscript format (12 pt Times New Roman or Courier fonts, 1” margins all around, line spacing 1½ or 2 spaces). It must be in .doc or .docx format or it will not be considered. Your name and contact information must be at the top of the first page of the story. Page numbers with author’s last name and/or partial story name on subsequent pages would be appreciated.

Cover letter is optional, but if you do include one, please add a short bio (up to 200 words).

Response time is currently within four weeks. After that, if you haven’t heard from us, please query. We will not be sending confirmations of receipt.

To submit a story, go to our story submission form below. To submit your story via email, put “SUBMISSION – TBOD2” in the subject line and send to: a.manzetti@hotmail.it.

***

30 September 2017 — Tribe Anthology — ed. Lois Peterson

TRIBE: A print anthology about the lives of older single women seeks work by emerging and experienced writers, providing insights into the situations and roles of older single women in our times.

Contributors:

Women aged 55+
From anywhere in the world
Single, which for our purposes means:
== You are single – by choice or circumstance – widowed or divorced
== Do not currently live, or plan to live, in a permanent domestic relationship with a partner of either gender

We are looking for well-written prose, poetry, prose poems, memoir, personal narrative, fiction ….Your submission could be about sexuality, health, music, family, reading and writing, travel, the outdoors and nature, dating, finances, art, creativity, loneliness, community, volunteerism, work, politics…

Your work could be serious, humorous, self-reflective, dramatic — about the condition of single life in modern times – your own experience and those of women you know, philosophical, sociological, analytical, revelatory…

We especially welcome work that reflects diversity.

Previously published work will be considered.

Prose submissions 1,200 words to 3,000.
Poetry max 45 lines

Submit:

Completed work – no queries

A maximum of two pieces of prose and/or two piece of poetry from each submitting writer

Complete submissions sent at one time as a single Word attachment

Include in the attachment:

== Your name
== Mailing address
== Email and phone#
== Month and year of birth
== If your submission has been published previously, please include info. about where and when

Rights: First North American Serial rights… the rights to the work return to the author 30 days after publication.

Email to tribeanthology@outlook.com with ‘Submission ^your last name^’ in the subject line.

Submissions accepted period May 1 – September 30, 2017

Remuneration: Initially* $25.00 CAN per piece (paid on acceptance), plus two copies of the anthology. *Sales/profits will determine further royalties paid to contributors.

50% of net profits will be donated to a charity, tbc.

Authors of work accepted for the anthology will be given the opportunity to sign off on any editorial changes made to their work prior to publication.

Tribe will be published by LPwordsolutions of Nanaimo, BC.

Submitting authors will be periodically informed of the progress of the project.
The publisher retains the right to cancel the project if the work submitted is not of the caliber required.

We are unable to provide specific editorial comment on submissions that are not accepted for the anthology, but will try to respond in a timely manner to all writers’ submissions and enquiries

We will also be seeking line drawings for the cover art and inside pages. Please contact tribeanthology@outlook.com for further details.

[NOTE: there’s more info on what the editor is looking for on the project web site. If you’re interested, click through and poke around.]

Anthology Markets

If you’ve just wandered in off the internet, hi and welcome. 🙂 I do these posts every month, so if this post isn’t dated in the same month you’re in, click here to make sure you’re seeing the most recent one. If you want to get an e-mail notification when the listing is posted, get the list a week early, or get a full listing of everything I’ve found (as opposed to the two months’ worth I post here) a week early, you can support my Patreon.

Markets with specific deadlines are listed first, “Until Filled” markets (if any) are at the bottom. There are usually more details on the original site; always click through and read the full guidelines before submitting. Note that some publishers list multiple guidelines on one page, so after you click through you might have to scroll a bit.

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30 June 2017 — Welcome to Miskatonic University — Broken Eye Books

Miskatonic University is still going strong in the Arkham Valley (and in various satellite campuses and research stations around the world). Resilient and forward thinking, few institutions can weather the times and adapt like good ol’ MU. It’s a strange brew of conservatively reaching into the past while progressively marching forward. And it’s a hotbed for the weird and the wonderful!

So what might a modern MU look like? What might student life be like today? These tales combine college life and the cosmic weird. Of course, there’s beer, sex, and parties; study groups and all-night cramming; campus activism and impassioned discourse; vital research and faculty struggling for tenure. But also, you know, gruesome and psychedelic cosmic weirdness.

What avenues of study has the university sanctioned either publicly or privately? Where are they getting so much funding? The university’s been around the block and are at the bleeding edge of certain realms of research. Occult studies have seeped, seemingly innocuously, into various branches of nearly all academic departments and inform everything from quantum physics to computer science, sociology to modern American literature. Library studies is hands down the best, most advanced in the world, likely one of the most well funded of sectors at the institution with ever-evolving safeguards and best practices.

But there’s bound to be lingering effects from all the occult activity, like “sensitive” people and locations with breaches to the “other side.” People disappear all the time; sometimes they even come back. Entire wings are off limits to humans indefinitely. As a whole, this anthology is about the angst and drama of college life, the promise of big occult ideas, and the terror and dread (and headfirst exploration) of the unknown, of the forbidden. And some dark humor would not be misplaced.

We want diverse stories with modern sensibilities from many different voices that show the immense and diverging possibilities ahead for the weird. We want to forge ahead and explore the new and the strange. We are actively seeking submissions from writers from underrepresented populations. (This includes, but is not limited to, writers of any race, gender, sexual orientation, religion, nationality, class, and physical or mental ability.)

== We want weird fiction set in a modern-day Miskatonic University. Stories should be set within or be inspired by the Cthulhu Mythos. We want to see the Mythos continue to grow and evolve, to expand as a shared literary world and not be tied to outdated and limiting sensibilities. We are not interested in stories with bigoted views on race and gender.
== Subversive or experimental stories are welcome.
== No pastiches of previous eras.
== Original, previously unpublished short stories (3,000-6,000 words) and flash fiction (1,000 words or less).
== Pay rate of 8 c/w for first rights to digital, audio, and print formats in English.
== Simultaneous submissions are welcome, but please, let us know as soon as possible if your submission has become unavailable before you hear back from us.
== Only one submission per author.
== We seek both rich characters and grandiose ideas. We seek diverse characters.

Submit your story in standard manuscript format as an attachment to submissions(at)brokeneyebooks(dot)com with a subject line of the following: [WTMU] “Your Story Title”.

Submission window open from April 1, 2017 to June 30, 2017. (We are working on streamlining our review process. We will start reading submissions in May after making headway into Ride the Star Wind edits. We cannot confirm receipt of your manuscript.) The published anthology will be a mix of stories both from invited authors and from slush pile submissions. Don’t self-reject. If in doubt, submit.

Requests:

We’re trying to present a living, breathing setting for MU. There’s no requirement or even request for any coordination of story details. We just ask that you avoid the more world-ending (or even university-ending) plots. Sure, people will die, just as new faculty is hired and new students fill empty seats. Buildings will crumble or disappear into wormholes, but there is always new construction. Monsters will come and go, sometimes with fanfare and sometimes not; some even stick around as lab specimens, secret pets, lazing in the sewers, or disguised as faculty. But above all, Miskatonic University persists.

For this anthology, Miskatonic University is assumed to be a fully modern, multicultural hotbed of cutting edge occult and technological research. In this modern incarnation, we’re assuming that it has fully embraced modern technology and norms and has both a faculty and student body thriving with personalities from all walks of life (no matter race, religion, gender, or anything [so it’s not just a bunch of white dudes])–and it’s been that way for at least decades. Of course, the institution will have its secrets and likely everyone there has their own agendas as well. So while there could certainly be your occasional reactionary character pining for the “old days,” those characters are not the norm. Hope that helps!

Content & Style:

Rape: Avoid rape, especially that intended only to demonize villains or raise heroes to action. Avoid rape victims serving only as plot devices. And on the instances when rape is vital to a story, we need to see the victim’s reactions, their journey after, the consequences. We prefer characters to have agency, not just be plot points and set pieces. If those considerations are unattainable in the writing, no rape. Also, no bestiality or child abuse.

Sex: Sex between consenting adults is perfectly welcome, regardless of gender, including with aliens and monsters. It doesn’t need to be tasteful, just consensual (though we’re not currently shopping for stories that are solely erotica). Incest, however, should be treated with the same considerations as rape (see above).

Hate: Vile, hate-filled (such as racist or sexist) characters/speech, that which could promote such hate, should not be reflective of the entire work. Any such characters should not be portrayed as narrators; such speech should not be adopted by the narrator. Such topics would be of interest to us if well navigated, as in LaValle’s The Ballad of Black Tom.

Style & Theme: We are happy to consider subversive themes, marginalized voices, and experimental styles.

Editorial: We will edit your work in collaboration with you and “in broad daylight” in accordance with Chicago Manual of Style and our experience. We are always open to discussion.

Current Tropes to Avoid: Forced Motherhood; Chosen One.

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15 July 2017 — Strange Beasties — Third Flatiron

Slipstream. Are you itching to invent your own odd literary devices or creatures? Impress us, delight us, or scare us with the diversity of your fiendish creations. Creatures of the id don’t necessarily have to be monsters, but they do need to be strange.

Third Flatiron Publishing is based in Boulder, Colorado, and Ayr, Scotland. We are looking for submissions to our quarterly themed anthologies. Our focus is on science fiction and fantasy and anthropological fiction. We want tightly plotted tales in out-of-the-ordinary scenarios. Light horror is acceptable, provided it fits the theme.

Please send us short stories that revolve around age-old questions and have something illuminating to tell us as human beings. Fantastical situations and creatures, exciting dialog, irony, mild horror, and wry humor are all welcome. Stories should be between 1,500 and 3,000 words. Inquire if longer.

Role models for the type of fiction we want include Kurt Vonnegut, Arthur C. Clarke, Dan Simmons, Connie Willis, Vernor Vinge, and Ken Kesey. We want to showcase some of the best new shorts available today.

For each anthology, we will also accept a few very short humor pieces on the order of the “Shouts and Murmurs” feature in The New Yorker Magazine (600 words or so). These can be written from a first-person perspective or can be mini-essays that tell people what they ought to do, how to do something better, or explain why something is like it is, humorously. An SF/Fantasy bent is preferred.

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31 July 2017 — Chthonic: Weird Tales of Inner Earth — Martian Migraine Press

Pelucidar. The Hollow Earth. DEROS, and the Shaver Mysteries. Blue-litten K’n-yan, red Yoth, and black, lightless N’kai. The Amigara Fault. Derinkuyu. Agartha. The world (and worlds) below. Inner earth, a near infinite space of vast, echoing potential … our (possible?) birthplace, and the place where we all return, either as corpses, or something other? … the churning, chaotic underworld, and true home of all that is weird, unconscious, and forbidden. Descend with us in this anthology of weird fiction; descend to the realms CHTHONIC.

We are looking for weird fiction that explores the mystique and terror of caverns, abyssal spaces, and subterranean worlds. As with previous MMP anthologies, we will be including a seed story from H. P. Lovecraft’s oeuvre (in this case, The Rats in the Walls, though many of his stories went underground). We want to see bizarre civilizations, mind-boggling physical and biological phenomena, horrific rituals, mad science and madder sorcery. We want to feel the tunnel floors beneath our feet shake with the passage of beasts, machines, and gods that have never seen the light of the sun; sentient oils, intelligent muck, living rock, molemen, formless spawn and Efts of the Prime, worms, Dholes, and ghastlier things. But CHTHONIC won’t be just a serving of pop culture “surface” material, if you’ll pardon the pun. We like to see stories with depth (oh god, another one, sorry!); emotional and psychological explorations of the internal spaces of the human mind and soul, as well as the ground below. Write us stories that induce crushing claustrophobia or open us wide to new dimensions of thought and being. If your story can do both, so much the better.

Final story count for the anthology will be determined based on quality and number of submissions. CHTHONIC: Weird Tales of Inner Earth will be released as a softcover paperback and as an electronic book in multiple formats.

Submission period closes JULY 31, 2017. The anthology will be released in early December of 2017.

Submitting

Please use Standard Manuscript format when submitting. That’s double spaced, left justified, Times New Roman or Courier or something at least readable, a header on the first page (at least) with your author info and word count and… well, you know the drill. RTF or DOC files preferred, but DOCx and text files also accepted. Obviously, you could send us something that’s not in Standard Manuscript format, but it will lower your chances of it being looked at seriously.

We will look at both original work and REPRINTS.

To submit a story to CHTHONIC: Weird Tales of Inner Earth send an e-mail (with the story file attached, not in the body of the email) to: submissions@martianmigrainepress.com, with subject line: “CHTHONIC, [title of your story] [your name]”.

Length

For short fiction, we’d like to see anything from 1,500 to 7,000 words.

FLASH FICTION: got something under 1500 words? Send it in. However, the following still applies…

NO POETRY.

Payment

All accepted submissions will be paid .03CAD per word, via Paypal, as well as two contributor copies (paperback) of the anthology, and copies in all electronic formats (mobi, EPUB, and PDF). Authors are also entitled to electronic copies of three additional Martian Migraine Press titles of their choosing.

Replies and Queries

We will try to acknowledge receipt of your submission within a week of its arrival in our inbox. The submission period itself will close on July 31, 2017 and we should be responding to all submissions, yes or no, throughout the submission period and no later than August 2017. We do our best to ensure that all submissions are contacted and kept up-to-date, but sometimes items fall through cracks, so, if you haven’t heard from us by September 15 2017, please query.

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31 July 2017 — Sharp and Sugar Tooth — Upper Rubber Boot Books

Announcing an open call for submissions for Sharp & Sugar Tooth: Women Up To No Good, an anthology of dark, speculative fiction, edited by Octavia Cade and to be published by Upper Rubber Boot Books in late 2018 or early 2019.

Sharp & Sugar Tooth is looking for creepy, seductive stories about the dark side of culinary life. The emphasis should be on the preparation, or the consumption, of food—horrifying, mouth-watering stories that make us hungry despite ourselves.

Sharp & Sugar Tooth is part of Upper Rubber Boot’s in the Women Up To No Good anthology series, so subversive, diverse stories with protagonists who identify as girls/women are appreciated. We want these characters in the kitchen—and out of it—using their butcher knives and baking skills to create meals that are dark and lovely and empowering, because consumption has a dangerous and tempting taste…

Stories can be any variety of fantasy or science fiction, provided the element of horror is present. Strong language and sex is no problem, but we’re not interested in torture-porn of humans or animals (regardless of whether they end up on a plate).

== Word/page count: Up to 5,000 words/story.
== Payment: six cents per word.
== Publication history: Original stories only. Reprints may be submitted by invitation only.
== Multiple submissions: No.
== Simultaneous submissions: No.
== Deadline: 31 July 2017. All stories will be replied to by the end of August.
== To submit: Please send stories in standard manuscript format, attached in .doc or .rtf files, to octaviacade@hotmail.com with the subject line SUGAR TOOTH. Be sure to provide mailing address and a short bio.
== If the work is a translation, please also provide a statement from the rightsholder that you are authorized to translate and submit it (both author and translator will receive full payment).

Authors must identify as female, non-binary, or a marginalized sex or gender identity.

We encourage and welcome stories from voices underrepresented in speculative fiction, including (but not limited to) writers of color, LGBTQ writers, writers with disabilities, and writers in translation.

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31 July 2017 — The Pulp Horror Book of Phobias — ed. M.J. Sydney; Lycan Valley Press

Word count: 4,000 to 6,000
Payment: $50 per story, a digital copy of the anthology and a discount code for print copies from Lycan Valley Press

Details: Phobias are defined as an irrational and extreme fear to something. Some of the most widely known phobias include arachnophobia, claustrophobia, agoraphobia, acrophobia, etc. Anything can be a phobia if it irrationally causes an intense and debilitating fear.

What happens when these irrational fears/phobias become reality? Make the fears and the horrors associated with that fear real. Take them from irrational to rational. Pick a phobia from the list below and take that fear to the next level. Make it come to life and give us a reason to be scared. Your characters don’t have to overcome their fears, but if they do, show us how. If they don’t, why not?

We don’t want characters sitting on a sofa in the psychiatrist’s office detailing their childhood or even characters with diagnosed phobias necessarily. Focus on the object of the phobia rather than the phobia itself as much as possible. We want you to make these phobias come to life in ways that will make readers sleep with the lights on, double check the locks on their doors and question reality.

There must be a strong pulp element to the story as well, keeping in mind that pulp doesn’t mean poorly written. If you’re unfamiliar with the original pulp magazines and stories, please do some research before submitting. Check out Black Mask Magazine http://www.blackmaskmagazine.com/ and here’s a pulp archive to get you started (warning: reading on this website may be addictive).
http://www.pulpmags.org/ and also here https://archive.org/details/pulpmagazinearchive.

Although you are free to write in your own style and that which best suits the story, Lester Dent’s Pulp Paper Master Fiction Plot is here for reference should you wish to use it. http://www.paper-dragon.com/1939/dent.html Here, James Scott Bell talks about writing pulp fiction: http://www.rachellegardner.com/why-i-write-pulp-fiction/

Titles: Please do not use the name of the phobia itself in your titles.

Formatting: Please follow Shunn Short Story Manuscript formatting which can be found here: http://www.shunn.net/format/story.html. Or use the downloadable template for Word found here: http://www.shunn.net/format/templates.html

Simultaneous and Multiple Submissions: No simultaneous submissions. Multiple submissions from the same author for two different phobias will be considered but please note that only one story per author will be accepted to allow for greater variety and diversity. Previously unpublished stories only, no reprints unless requested.

Email questions to: MJSyd99@gmail.com with “PHB Question” in the subject line.

The available list of phobias as well as the submission form has moved and can now be found on the Lycan Valley Press Submittable profile at http://lycanvalleypress.submittable.com/submit under THE PULP HORROR BOOK OF PHOBIAS.

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15 August 2017 — AFTERMATH: Explorations of Loss & Grief — Radix Media

The inevitable breakdown of a long-term relationship; losing your home due to gentrification; struggling with the deportation of a loved one; navigating the crumbling healthcare situation in Trump’s America.

How do you define loss and grief?

Radix Media presents AFTERMATH: Explorations of Loss & Grief, an anthology that will examine what it means to face the consequences after tragedy strikes. The theme is left intentionally open, giving contributors the freedom to tell their story as it is most relevant to their experiences.

SUBMISSION GUIDELINES

We prefer previously unpublished pieces (though previously published pieces will b considered on a case-by-case basis), and they can be fiction, personal essays, or poetry, between 500 and 3,000 words. We will also accept comics, illustration, and photography that will retain its integrity in black and white. Accepted works will be collected into either a zine or paperback book, depending on the volume and length of accepted works. Visual submissions should be able to fit a print size of 5″ x 8″.

CONTRIBUTORS & PAYMENT

Contributed pieces will be paid for at the following rates:

Fiction & Non-Fiction: $0.06 per word

Poetry: $35 per work

Comics, Photos, & Illustration: $10 per page or $50 per work, whichever is greater

We strongly encourage typically underrepresented voices to submit. If you are a person of color, queer, trans, disabled, or any combination of these, we would especially love to hear from you.

DEADLINE

Pieces should be submitted via e-mail to submissions@radixmedia.org by August 15, 2017. Please include your name, e-mail address, and telephone number. Also let us know if the work has been previously published or not, or whether it is currently being considered for publication by another publisher.

For written works, please paste the text directly into the body of the e-mail. For visual pieces, low-resolution versions are preferred (we will contact you for a hi-res version upon acceptance). For this call, we will accept multiple submissions, but please limit to 3.

Accepted contributors will be notified within 3-4 weeks after this deadline, and payment will be issued upon receipt of your signed publication contract.

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31 August 2017 — Hidden Animals: A Collection of Cryptids — The Dragon’s Roost Press

CRYPTOZOOLOGY: the study of and search for animals and especially legendary animals (such as Sasquatch) usually in order to evaluate the possibility of their existence

CRYPTID: an animal whose existence or survival to the present day is disputed or unsubstantiated; any animal of interest to a cryptozoologist

We’ve explored loneliness, isolation, and solitude in our first anthology. We Put the Love Back in Lovecraft in our second anthology. Now we are looking for stories involving the creatures which hide in the shadows — the monsters of cryptozoology.

Bigfoot, Nessie, el Chupacabra, The Jersey Devil — cryptids so well known that they have become part of the cultural zeitgeist.

For our new anthology, tentatively entitled Hidden Animals: A Collection of Cryptids, we are looking for lesser known cryptids, creatures of the dark corners of cryptozoology. They can be the antagonist, the protagonist, the creeping dread which drives the story, but they must be present.

What We Want:

Finely crafted works of Dark Speculative fiction which feature one (or more) of the lesser known, but established cryptids. Authors are encouraged to put their own spin on the classic creature. Make them terrifying. Make them sympathetic. Make them humorous. Above all, make them feel real.

What We Don’t Want:

Non-fiction. We want fictional stories with a plot and a well defined story arc. While we are interested in hearing about your own personal experience, or that of your friend or family member, this is not the book for that.

New Monsters. While we appreciate your creativity, we are looking for stories which feature creatures that readers will have at least a passing knowledge of. Give us your giant cats, dogboys, and lake creatures, but please do not create your own creature.

[Note: There are plenty of website which describe various cryptids. A brief list appears here.]

Stories where nothing happens. Keep the creatures in the shadows if you like, but give us something. There’s a reason that we don’t watch that show where they look for but never actually find Bigfoot.

Retreads of established stories. This is going to be a little tougher. We do want stories based on “actual encounters.” Feel free to incorporate material from real life sightings. Sprinkle the history of the creature in your prose. Do not simply give us a fictionalized version of a story that you read in another book or saw on the big or little screen.

We don’t like being sued.

Aliens. Yes, there is some overlap between the study of some cryptids (e.g., el chupacabra) and extraterrestrial beings, we are not looking for stories that exclusively feature visitors from other worlds. Maybe in a future anthology, but not this one.

Important Note: We are going for cryptozoological diversity. Towards this end, we will only accept ONE story featuring each cryptid. Authors may consider focusing on a lesser known cryptid, or getting their submissions in early.

The Specifics: We are looking for short fiction up to 6,000 words. While we prefer original material, we will consider reprints. Please query before submitting reprints. Naturally, we will only consider stories which you retain the rights to. Please provide original publication information for all reprints. Fan Fiction, Slash Fiction, and any other material containing characters or setting which you did not create, are not acceptable (so no returning to Boggy Creek). Submissions should follow standard format. For an example of what we are looking for in terms of formatting, please visit Shunn’s website. The only addendum to this is that the editor prefers Times New Roman.

Please edit your material carefully. Common spelling errors (they’re/their/there, your/you’re) may be acceptable in social media posts, but not in works submitted for publication.

Word (.doc/.docx) format is preferred, but we will also accept submissions in Open Office (.odt), and Pages (pages). Send your stories to submissions@thedragonsroost.net. In the subject line of your e-mail list “Hidden Animals,” the title of your story, and your last name. For example:

Hidden Animals / Really Awesome Story / I. M. Ayeti

E-mails which do not follow this format will be deleted unread.

Provide a short (500 words or less) biography in the body of your e-mail. Also, feel free to provide a brief description of the cryptozoological being which appears in your story along with links and/or citations.

We are looking for North American Print and Digital Rights. Rights revert back to the author upon publication. Submissions accepted until 31 Aug 2017 or until filled. Our previous anthologies have each closed to submissions a month or more before the deadline. For this book, we are only looking for 13 – 15 stories (instead of the 21 – 30 stories of our previous anthologies) Don’t delay, start writing today!

Please wait four weeks before querying.

Direct queries to editor@thedragonsroost.net.

Multiple submissions are OK, but please wait until you have received a response on your first piece before submitting your second. Simultaneous submissions: no.

Estimated publication date Winter 2017 via Create Space and Smashwords.

At this time payment is three cents per word ($0.03/word) plus one contributor’s copy and one digital version in the format of the author’s choosing. We will be running a crowd sourcing campaign with the goal of providing higher monetary recompense to our authors. As with our previous anthologies, this is a charity anthology to raise money for the canine rescue organization Last Day Dog Rescue.

Note to New Authors: Most publications seek First North American Rights. While you may be able to sell your story again as a reprint, publication in this anthology may limit your story’s future marketability and may affect the amount of money you will be able to receive from other markets. Please take this into consideration before submitting.

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1 September 2017 — The Beauty of Death 2 — Death by Water — ed. Alessandro Manzetti and Jodi Renee Lester; Independent Legions Publishing

Independent Legions Publishing is seeking original horror stories in English for the new anthology The Beauty of Death 2 — Death by Water, edited by Alessandro Manzetti and Jodi Renée Lester, to be published October 2017 in print and digital editions.

We’re looking for stories that fit the theme: Death by Water. All types of horror are welcome. Sex or violence in a story should be artistically justified; no excessive gore. No stories about child abuse of any kind. We welcome all subgenres and forms of speculative fiction.

Word Count: We are open to stories of 4000-5000 words.
Deadline: September 1, 2017
Pay Rate: We pay (via PayPal) $100 for each original story.
We buy first exclusive English-language rights for three years.

We do not accept multiple or simultaneous submissions, nor do we accept unsolicited reprints.

Submissions should follow standard manuscript format (12 pt Times New Roman or Courier fonts, 1” margins all around, line spacing 1½ or 2 spaces). It must be in .doc or .docx format or it will not be considered. Your name and contact information must be at the top of the first page of the story. Page numbers with author’s last name and/or partial story name on subsequent pages would be appreciated.

Cover letter is optional, but if you do include one, please add a short bio (up to 200 words).

Response time is currently within four weeks. After that, if you haven’t heard from us, please query. We will not be sending confirmations of receipt.

To submit a story, go to our story submission form below. To submit your story via email, put “SUBMISSION – TBOD2” in the subject line and send to: a.manzetti@hotmail.it.

Fiction… Thing

Okay, this isn’t an anthology (or a magazine or a webzine or anything like that), but it’s someone offering very decent money for fiction, so I’m posting it by itself.

The Machine Intelligence Research Institute (MIRI) wants to pay you to publish a story of yours, that they choose. No, really, they want to pay you to publish it, as in you publish it, on your web site or blog, and they’ll link to it from their blog and newsletter, and send (potentially a whole lot of) readers your way. (That’s not quite what their guidelines say; I had to e-mail for clarification.)

I’m posting this because they’re offering eight cents per word. As they do point out, posting a story in public on your blog or web site means first rights are gone; you can only sell the story to a third-party editor as a reprint afterwards, therefore the pro-plus rate they’re offering. Which is pretty cool of them.

It seems to me that an ideal situation would be that you’d have a story you planned to indie publish anyway, you subbed it to MIRI, they chose it, paid you eight cents per word to post it on your blog, and then you indie published it after — same thing you were going to do anyway, but with a nice wad of cash to start things off. And in any case, eight cents per word might well be worth giving up a chance at a sale to Analog.

Here’s what they have to say about it:

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Deadline: 15 July 2017 — Intelligence in Fiction — MIRI

This call is intended to reward people who write thoughtful and compelling stories about artificial general intelligence, intelligence amplification [broken link], or the AI alignment problem. We’re looking to appreciate and publicize authors who help readers understand intelligence in the sense of general problem-solving ability, as opposed to thinking of intelligence as a parlor trick for memorizing digits of pi, and who help readers intuit that non-human minds can have all sorts of different non-human preferences [PDF link] while still possessing instrumental intelligence.

The winning stories are intended to show (rather than tell) these ideas to an intellectually curious audience. Conscious attempts to signal that the ideas are weird, wonky, exotic, or of merely academic interest are minuses. We’re looking for stories that just take these ideas as reality in the setting of the story and run with them. In all cases, the most important evaluation criterion will just be submissions’ quality as works of fiction; accurately conveying important ideas is no excuse for bad art!

To get a good sense of what we’re looking for, we recommend you read some or all of the following:

== Superintelligence
== Smarter Than Us
== Waitbutwhy post 1, Waitbutwhy post 2 (with caveats)

[I read the two Waitbutwhy posts when they first went up, and can say that they’re long but fascinating, and absolutely worth a read, especially if you’re an SF writer.]

Submission Details

== Purchasing First Publication Rights
== Pay Rate: 8c/word, up to 5000 words
== Multiple Submissions ok
== Simultaneous Submissions ok
== Submissions window: Open until July 15

Withdrawal policy:

After you submit a story, we prefer you don’t withdraw it. If you withdraw a story, we won’t consider any version of that story in the future. However, if you do need to withdraw a story (because, for example, you have sold exclusive rights elsewhere), please send an e-mail telling us that you need to withdraw ASAP.

Important Notes:

MIRI is neither a publishing house nor a science fiction magazine and cannot directly publish you. However, MIRI will help link a large number of readers to your story.

We frankly do not know whether being selected by MIRI will qualify as a Professional Sale for purposes of membership in the SFWA. We suspect, through readership numbers and payscale, that it will, but we have not spoken to the SFWA to clarify this.

If you have a work of hypertext fiction you think might be a good fit for this call, please query us to discuss how to submit it.

To submit a work, send your submissions as .DOC or .DOCX email attachments to intelligenceprize@gmail.com, with your cover letter in the email body, and a subject line of SUBMISSION: (Title).

How to Contact Us:

To contact us for any reason, write to intelligenceprize@gmail.com with the word QUERY: at the beginning of your subject line. Add a few words to the subject line to indicate what you’re querying about.

Anthology Markets

If you’ve just wandered in off the internet, hi and welcome. 🙂 I do these posts every month, so if this post isn’t dated in the same month you’re in, click here to make sure you’re seeing the most recent one. If you want to get an e-mail notification when the listing is posted, get the list a week early, or get a full listing of everything I’ve found (as opposed to the two months’ worth I post here) a week early, you can support my Patreon.

Markets with specific deadlines are listed first, “Until Filled” markets (if any) are at the bottom. There are usually more details on the original site; always click through and read the full guidelines before submitting. Note that some publishers list multiple guidelines on one page, so after you click through you might have to scroll a bit.

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31 May 2017 — Chiral Mad 4 — ed. Lucy A. Snyder and Michael Bailey

While previous volumes of Chiral Mad focused more on psychological horror, with most stories having some sort of chiral aspect in plot or character development or structure, Chiral Mad 4 will be open to just about anything, as long as the story has some sort of dark or speculative element. The only required chirality is with the collaboration itself … multiple minds working as one, in other words, to create something entirely new. We want this anthology to be as diverse as humanly possible, and will be looking for stories that bend and blend genres, stories that experiment with structure, and most importantly, stories that are not dependent upon common tropes.

Unlike past Written Backwards projects, this fourth volume in the critically-acclaimed series of anthologies will be a completely collaborative effort of originality, collecting 4 short stories, 4 novelettes, 4 novellas, and 4 graphic adaptations (to celebrate this 4th book), all co-authored and/or co-created. And the anthology itself will also be co-edited!

The goal of Chiral Mad 4 is to help bring our creative community together, to make us stronger, to strengthen relationships already in place, and to help create new relationships entirely. It’s time for all of us to play nice, to get along, and to do what we do best: create somethings out of nothings… and we’re going to create these beautiful somethings together. Have a specific writer/artist you’ve always admired? Well, now’s your chance. Reach out. Ask! That’s all it takes to get started. Find a partner, or two, or three, and start collaborating! The more unique the collaboration, the better the chances you have of making it into Chiral Mad 4. The more diverse the collaborations, the better the chances you have of making it into Chiral Mad 4. Now, here’s the hard part: knowing whether or not someone is already collaborating… Email CM4@nettirw.com if you have any questions or concerns about this, or to simply email your submission.

While half the anthology will be filled with commissioned works (the book is nearly half-filled already, with a few of the early acceptances announced below), the rest of the anthology is open for submissions for a short period of time. The submission window for non-commissioned contributors closes May 31st, 2017. So get to it! This is a very short window of opportunity.

Acceptances for non-commissioned work will not be announced until after June 30th, 2017, so we ask that we hold onto your work exclusively until then, as each submission will be carefully considered and agreed upon by both editors of this anthology. No simultaneous submissions, please.

What are we looking for?

== 4 short stories (5,000 words max)
== 4 novelettes (10,000 words max)
== 4 novellas (20,000 words max)
== 4 graphic adaptations (1,500 words max, or 10 pages)

Payment will be $.06 per word, capped at the max word counts listed above, split evenly between contributors. Two contributors writing a 5,000-word short story, for example, would split $300, or $150 each. Contributors writing a 10,000-word novelette would evenly split $600. Contributors writing a 20,000-word novella would evenly split $1,200. Graphic adaptations will be determined by the publisher/creators prior to acceptance; these are unique collaborations and payments for such are not as simple to calculate. In fact, 3 of the 4 slots for graphic adaptations are already filled, so please query CM4@nettirw.com before submitting. And, as always, contributor copies of each edition are part of the deal. Written Backwards has worked with many illustrators and artists in the past, so if you have a script but not an illustrator/artist lined-up, please let us know and we can arrange one for your story if we fall in love with your script.

So, hopefully all of this gets you excited, gets you eager to reach out to others in our creative community. Chiral Mad 4 is the most ambitious project ever imagined by Written Backwards. Please, be a part of it. Send your work to CM4@nettirw.com.

***

1 June 2017 — Corporate Cthulhu — Pickman’s Press

Of all bureaucracies, corporations are the most powerful, seeming to have a life and will of their own. They’re privately held with a multi-national reach, seemingly bottomless resources, and armies of lawyers jealously guarding their trade secrets. Anything and everything is justified by the bottom line. Who needs a Cthulhu Cult when you’ve got Cthulhu, Inc.?

Into this insidious world are thrust our heroes—the curious, the puzzled, and the frustrated. Defying authority, seeking answers they’d be better off not knowing, the secrets they discover threaten their sanity and their lives. Will they become the next whistleblower media hero? Or disappear, leaving nothing behind but an empty desk and whispered rumors in the break room? Remember: it’s nothing personal—just business.

Corporate Cthulhu is a Lovecraftian horror anthology about the intersection of the Cthulhu Mythos and corporations or other large bureaucracies.

This is an OPEN call for submissions—anyone and everyone is free to submit a short story to the slush pile. Feel free to share this with other writers you think might be interested.

What We’re Looking For

== Short stories up to 7000 words.

== Original, previously unpublished fiction.

== We’re particularly interested in submissions from writers traditionally underrepresented in sci-fi, fantasy, and horror fiction. This includes racial, ethnic, and religious minorities, women, LGBTQ+ individuals, and people living with disabilities.

== Stories must include at least a passing connection to the Cthulhu Mythos and/or Lovecraft’s other work. The stronger the connection, the more likely the story is to be accepted.

== Stories that make skillful use of Lovecraftian horror themes: insanity, helplessness and hopelessness, inherited guilt, old isolated locations, books of forbidden knowledge, ancient extraterrestrial influences on humanity, the risks of runaway science, civilization vs. barbarism, humanity’s insignificance on the cosmic scale of space and time, unanswered questions about what lurks behind the curtain of reality, etc.

== Although we’re expecting a lot of stories where management is a cult in disguise (and that’s fine!), we encourage writers to think outside the box. Other elements of the business cycle include labor (a union strikes over a bizarre demand) and customers (how far will a struggling company go to meet their biggest customer’s increasingly strange requests?).

== Although the primary focus is on corporate bureaucracies, ANY large private-sector bureaucracy is fair game. This could include (among others) charities, nonprofits, NGOs, private universities, for-profit hospitals, labor unions, large churches, fraternal organizations, youth groups, etc.

== Stories set in any time period during the modern industrial capitalist era (roughly 1800 on up). Query first for stories set in other time periods.

== Comedies, parodies, and/or satires are acceptable.

What We’re NOT Looking For

== Romances or erotica.

== Stories under 2000 words or over 7000 words.

== Stories taking place in governmental or other public-sector bureaucracies. As much fun as it may be to have Cthulhu running the IRS, save those ideas for a later Political Cthulhu anthology.

Payment

If selected, authors will receive $0.03 cents per word for original, previously unpublished fiction. Original fiction strongly preferred; query first for reprints. In the unlikely event that we do accept a reprint, payment will be $0.01 cent per word. Publication is dependent on a successful Kickstarter campaign to fund the project. There will be no kill fees.

Rights

Exclusive global English first print and digital rights for one year, and nonexclusive print and digital rights for term of copyright. All other rights are reserved to the author.

Submitting

Stories should follow the format laid out in the submission guidelines; if not, it may be automatically rejected. Submissions should be emailed to submissions@pickmanspress.com with the story included as an attachment in .doc, .docx, or .rtf format, and must be received no later than midnight, Central Standard Time, June 1st, 2017. The email subject should read [Submissions: Story Title by Author Name]. If accepted, minor edits and revisions may be requested. The Kickstarter campaign will begin after the stories have been selected.

***

30 June 2017 — Welcome to Miskatonic University — Broken Eye Books

Miskatonic University is still going strong in the Arkham Valley (and in various satellite campuses and research stations around the world). Resilient and forward thinking, few institutions can weather the times and adapt like good ol’ MU. It’s a strange brew of conservatively reaching into the past while progressively marching forward. And it’s a hotbed for the weird and the wonderful!

So what might a modern MU look like? What might student life be like today? These tales combine college life and the cosmic weird. Of course, there’s beer, sex, and parties; study groups and all-night cramming; campus activism and impassioned discourse; vital research and faculty struggling for tenure. But also, you know, gruesome and psychedelic cosmic weirdness.

What avenues of study has the university sanctioned either publicly or privately? Where are they getting so much funding? The university’s been around the block and are at the bleeding edge of certain realms of research. Occult studies have seeped, seemingly innocuously, into various branches of nearly all academic departments and inform everything from quantum physics to computer science, sociology to modern American literature. Library studies is hands down the best, most advanced in the world, likely one of the most well funded of sectors at the institution with ever-evolving safeguards and best practices.

But there’s bound to be lingering effects from all the occult activity, like “sensitive” people and locations with breaches to the “other side.” People disappear all the time; sometimes they even come back. Entire wings are off limits to humans indefinitely. As a whole, this anthology is about the angst and drama of college life, the promise of big occult ideas, and the terror and dread (and headfirst exploration) of the unknown, of the forbidden. And some dark humor would not be misplaced.

We want diverse stories with modern sensibilities from many different voices that show the immense and diverging possibilities ahead for the weird. We want to forge ahead and explore the new and the strange. We are actively seeking submissions from writers from underrepresented populations. (This includes, but is not limited to, writers of any race, gender, sexual orientation, religion, nationality, class, and physical or mental ability.)

== We want weird fiction set in a modern-day Miskatonic University. Stories should be set within or be inspired by the Cthulhu Mythos. We want to see the Mythos continue to grow and evolve, to expand as a shared literary world and not be tied to outdated and limiting sensibilities. We are not interested in stories with bigoted views on race and gender.
== Subversive or experimental stories are welcome.
== No pastiches of previous eras.
== Original, previously unpublished short stories (3,000-6,000 words) and flash fiction (1,000 words or less).
== Pay rate of 8 c/w for first rights to digital, audio, and print formats in English.
== Simultaneous submissions are welcome, but please, let us know as soon as possible if your submission has become unavailable before you hear back from us.
== Only one submission per author.
== We seek both rich characters and grandiose ideas. We seek diverse characters.

Submit your story in standard manuscript format as an attachment to submissions(at)brokeneyebooks(dot)com with a subject line of the following: [WTMU] “Your Story Title”.

Submission window open from April 1, 2017 to June 30, 2017. (We are working on streamlining our review process. We will start reading submissions in May after making headway into Ride the Star Wind edits. We cannot confirm receipt of your manuscript.) The published anthology will be a mix of stories both from invited authors and from slush pile submissions. Don’t self-reject. If in doubt, submit.

Requests:

We’re trying to present a living, breathing setting for MU. There’s no requirement or even request for any coordination of story details. We just ask that you avoid the more world-ending (or even university-ending) plots. Sure, people will die, just as new faculty is hired and new students fill empty seats. Buildings will crumble or disappear into wormholes, but there is always new construction. Monsters will come and go, sometimes with fanfare and sometimes not; some even stick around as lab specimens, secret pets, lazing in the sewers, or disguised as faculty. But above all, Miskatonic University persists.

For this anthology, Miskatonic University is assumed to be a fully modern, multicultural hotbed of cutting edge occult and technological research. In this modern incarnation, we’re assuming that it has fully embraced modern technology and norms and has both a faculty and student body thriving with personalities from all walks of life (no matter race, religion, gender, or anything [so it’s not just a bunch of white dudes])–and it’s been that way for at least decades. Of course, the institution will have its secrets and likely everyone there has their own agendas as well. So while there could certainly be your occasional reactionary character pining for the “old days,” those characters are not the norm. Hope that helps!

Content & Style:

Rape: Avoid rape, especially that intended only to demonize villains or raise heroes to action. Avoid rape victims serving only as plot devices. And on the instances when rape is vital to a story, we need to see the victim’s reactions, their journey after, the consequences. We prefer characters to have agency, not just be plot points and set pieces. If those considerations are unattainable in the writing, no rape. Also, no bestiality or child abuse.

Sex: Sex between consenting adults is perfectly welcome, regardless of gender, including with aliens and monsters. It doesn’t need to be tasteful, just consensual (though we’re not currently shopping for stories that are solely erotica). Incest, however, should be treated with the same considerations as rape (see above).

Hate: Vile, hate-filled (such as racist or sexist) characters/speech, that which could promote such hate, should not be reflective of the entire work. Any such characters should not be portrayed as narrators; such speech should not be adopted by the narrator. Such topics would be of interest to us if well navigated, as in LaValle’s The Ballad of Black Tom.

Style & Theme: We are happy to consider subversive themes, marginalized voices, and experimental styles.

Editorial: We will edit your work in collaboration with you and “in broad daylight” in accordance with Chicago Manual of Style and our experience. We are always open to discussion.

Current Tropes to Avoid: Forced Motherhood; Chosen One.

***

15 July 2017 — Strange Beasties — Third Flatiron

Slipstream. Are you itching to invent your own odd literary devices or creatures? Impress us, delight us, or scare us with the diversity of your fiendish creations. Creatures of the id don’t necessarily have to be monsters, but they do need to be strange.

Third Flatiron Publishing is based in Boulder, Colorado, and Ayr, Scotland. We are looking for submissions to our quarterly themed anthologies. Our focus is on science fiction and fantasy and anthropological fiction. We want tightly plotted tales in out-of-the-ordinary scenarios. Light horror is acceptable, provided it fits the theme.

Please send us short stories that revolve around age-old questions and have something illuminating to tell us as human beings. Fantastical situations and creatures, exciting dialog, irony, mild horror, and wry humor are all welcome. Stories should be between 1,500 and 3,000 words. Inquire if longer.

Role models for the type of fiction we want include Kurt Vonnegut, Arthur C. Clarke, Dan Simmons, Connie Willis, Vernor Vinge, and Ken Kesey. We want to showcase some of the best new shorts available today.

For each anthology, we will also accept a few very short humor pieces on the order of the “Shouts and Murmurs” feature in The New Yorker Magazine (600 words or so). These can be written from a first-person perspective or can be mini-essays that tell people what they ought to do, how to do something better, or explain why something is like it is, humorously. An SF/Fantasy bent is preferred.

***

31 July 2017 — Chthonic: Weird Tales of Inner Earth — Martian Migraine Press

Pelucidar. The Hollow Earth. DEROS, and the Shaver Mysteries. Blue-litten K’n-yan, red Yoth, and black, lightless N’kai. The Amigara Fault. Derinkuyu. Agartha. The world (and worlds) below. Inner earth, a near infinite space of vast, echoing potential … our (possible?) birthplace, and the place where we all return, either as corpses, or something other? … the churning, chaotic underworld, and true home of all that is weird, unconscious, and forbidden. Descend with us in this anthology of weird fiction; descend to the realms CHTHONIC.

We are looking for weird fiction that explores the mystique and terror of caverns, abyssal spaces, and subterranean worlds. As with previous MMP anthologies, we will be including a seed story from H. P. Lovecraft’s oeuvre (in this case, The Rats in the Walls, though many of his stories went underground). We want to see bizarre civilizations, mind-boggling physical and biological phenomena, horrific rituals, mad science and madder sorcery. We want to feel the tunnel floors beneath our feet shake with the passage of beasts, machines, and gods that have never seen the light of the sun; sentient oils, intelligent muck, living rock, molemen, formless spawn and Efts of the Prime, worms, Dholes, and ghastlier things. But CHTHONIC won’t be just a serving of pop culture “surface” material, if you’ll pardon the pun. We like to see stories with depth (oh god, another one, sorry!); emotional and psychological explorations of the internal spaces of the human mind and soul, as well as the ground below. Write us stories that induce crushing claustrophobia or open us wide to new dimensions of thought and being. If your story can do both, so much the better.

Final story count for the anthology will be determined based on quality and number of submissions. CHTHONIC: Weird Tales of Inner Earth will be released as a softcover paperback and as an electronic book in multiple formats.

Submission period closes JULY 31, 2017. The anthology will be released in early December of 2017.

Submitting

Please use Standard Manuscript format when submitting. That’s double spaced, left justified, Times New Roman or Courier or something at least readable, a header on the first page (at least) with your author info and word count and… well, you know the drill. RTF or DOC files preferred, but DOCx and text files also accepted. Obviously, you could send us something that’s not in Standard Manuscript format, but it will lower your chances of it being looked at seriously.

We will look at both original work and REPRINTS.

To submit a story to CHTHONIC: Weird Tales of Inner Earth send an e-mail (with the story file attached, not in the body of the email) to: submissions@martianmigrainepress.com, with subject line: “CHTHONIC, [title of your story] [your name]”.

Length

For short fiction, we’d like to see anything from 1,500 to 7,000 words.

FLASH FICTION: got something under 1500 words? Send it in. However, the following still applies…

NO POETRY.

Payment

All accepted submissions will be paid .03CAD per word, via Paypal, as well as two contributor copies (paperback) of the anthology, and copies in all electronic formats (mobi, EPUB, and PDF). Authors are also entitled to electronic copies of three additional Martian Migraine Press titles of their choosing.

Replies and Queries

We will try to acknowledge receipt of your submission within a week of its arrival in our inbox. The submission period itself will close on July 31, 2017 and we should be responding to all submissions, yes or no, throughout the submission period and no later than August 2017. We do our best to ensure that all submissions are contacted and kept up-to-date, but sometimes items fall through cracks, so, if you haven’t heard from us by September 15 2017, please query.

***

31 July 2017 — Sharp and Sugar Tooth — Upper Rubber Boot Books

Announcing an open call for submissions for Sharp & Sugar Tooth: Women Up To No Good, an anthology of dark, speculative fiction, edited by Octavia Cade and to be published by Upper Rubber Boot Books in late 2018 or early 2019.

Sharp & Sugar Tooth is looking for creepy, seductive stories about the dark side of culinary life. The emphasis should be on the preparation, or the consumption, of food—horrifying, mouth-watering stories that make us hungry despite ourselves.

Sharp & Sugar Tooth is part of Upper Rubber Boot’s in the Women Up To No Good anthology series, so subversive, diverse stories with protagonists who identify as girls/women are appreciated. We want these characters in the kitchen—and out of it—using their butcher knives and baking skills to create meals that are dark and lovely and empowering, because consumption has a dangerous and tempting taste…

Stories can be any variety of fantasy or science fiction, provided the element of horror is present. Strong language and sex is no problem, but we’re not interested in torture-porn of humans or animals (regardless of whether they end up on a plate).

== Word/page count: Up to 5,000 words/story.
== Payment: six cents per word.
== Publication history: Original stories only. Reprints may be submitted by invitation only.
== Multiple submissions: No.
== Simultaneous submissions: No.
== Deadline: 31 July 2017. All stories will be replied to by the end of August.
== To submit: Please send stories in standard manuscript format, attached in .doc or .rtf files, to octaviacade@hotmail.com with the subject line SUGAR TOOTH. Be sure to provide mailing address and a short bio.
== If the work is a translation, please also provide a statement from the rightsholder that you are authorized to translate and submit it (both author and translator will receive full payment).

Authors must identify as female, non-binary, or a marginalized sex or gender identity.

We encourage and welcome stories from voices underrepresented in speculative fiction, including (but not limited to) writers of color, LGBTQ writers, writers with disabilities, and writers in translation.

Anthology Markets

If you’ve just wandered in off the internet, hi and welcome. 🙂 I do these posts every month, so if this post isn’t dated in the same month you’re in, click here to make sure you’re seeing the most recent one. If you want to get an e-mail notification when the listing is posted, get the list a week early, or get a full listing of everything I’ve found (as opposed to the two months’ worth I post here) a week early, you can support my Patreon.

Markets with specific deadlines are listed first, “Until Filled” markets (if any) are at the bottom. There are usually more details on the original site; always click through and read the full guidelines before submitting. Note that some publishers list multiple guidelines on one page, so after you click through you might have to scroll a bit.

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30 April 2017 — SNAFU Judgement Day — ed. Amanda J Spedding and Geoff Brown; Cohesion Press

Post-apocalyptic military horror.

The end of the world as we know it.

What we want: Invading space aliens, demonic invasion as in Doom, DNA-grafted dinosaurs taking over the planet, manmade viral infections that nearly wipe out humanity, or artificial intelligence like in Terminator… anything you can think of that would bring about the end of the world. And SOLDIERS!

Tell us about what happens during the worst of the fall of humanity or afterwards.

No zombies. That’s already taken care of.

Full action. Nothing less.

Hoo-rah!

Payment: AUD4c/word and one contributor copy in each format released.

Wordcount range: 2,000 – 10,000 words (query for shorter or longer)

No selections will be made until after the period closes.

Projected publication date: Late 2017

We will have some solicited authors alongside the open call, with the first being Jonathan Maberry.

Please follow these guidelines when submitting to us:

== Please put your full contact details on the first page of the manuscript top left, with word count top right.
== Standard submission format, with minimal document formatting.
== Courier or Times New Roman set at 12pt. Italics as they will appear. No underlining.
== Double spaced.
== Please don’t use TAB or space bar to indent lines. Use ‘styles’ only. If unsure or using a program that has no styles, DO NOT indent at all. That’s still cool.
== NO SPACE between paragraphs unless a line-break is required. ONE SPACE after full stops.
== Please put full contact details on the first page of the manuscript (yes, I said this twice… it’s important).
== Send your submission to Geoff Brown at submissions@cohesionpress.com as an attachment (.doc/.rtf only)
== In the subject line of your email, please put JudgementDay: [STORY TITLE] (Replace [STORY TITLE] with your actual story title. Yes, unfortunately I do need to state this)

NO MULTIPLE SUBMISSIONS

NO SIMULTANEOUS SUBMISSIONS

NO REPRINTS

Please include a brief ‘hello, this is who I am’ in your email body as a cover letter.

Blank emails with attachments will be deleted.

For a guide to standard submission format, see: http://www.shunn.net/format/story.html

The only variations to this format are that italics MUST appear as they will be used – no underlining – and again, only one space after a full stop.
Anyone that fails to follow these guidelines will likely see their story shredded by zombie mutant creatures.

***

30 April 2017 — Unidentified Funny Objects 6 — ed. Alex Shvartsman

Unidentified Funny Objects is an annual anthology of humorous SF/F. Past headliners include George R. R. Martin, Neil Gaiman, Esther Friesner, David Gerrold, Laura Resnick, Mike Resnick, Piers Anthony, Kevin J. Anderson, etc.

For UFO6 we’re seeking all style and sub-genres of speculative humor.

LENGTH: 500-5000 words.

PAYMENT: $0.10 per word + contributor copy. Payment will be made upon acceptance. Our preferred method of payment is via PayPal, but you may request a check.

FORMAT: RTF or DOC. Standard Manuscript Format or something close to. (We won’t take points off if you prefer Courier over Times New Roman or some such).

SEND TO: Upload your stories via this submissions link.

Limit of 1 submission per author — even if you receive a response before the submission window closes please do not send another story unless directly invited to do so.

Please do not respond to rejections. The email address associated with submissions is not monitored. If you wish to query for any reason, please use the contact form or e-mail us: ufopublishing at gmail dot com.

RIGHTS SOUGHT: First Worldwide print and electronic English Language rights. Exclusivity for 90 days from date of release. Non-exclusive print, e-book, and audio rights afterward. Preview sample contract.

POLICIES & RESPONSE TIME: No reprints, multiple or simultaneous submissions please. Do not send any stories we already considered for a previous UFO volume or any other anthology edited by Alex Shvartsman. You may query after 30 days. Please send only one submission per author unless directly invited to send more.

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.

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:

* Zombies
* Vampires
* Deals with the Devil / Djinn in a bottle variants
* Stereotypical aliens probing people, abducting cattle, and doing other stereotypical alien things.

***

1 May 2017 — Blood in the Rain 4 — ed. Cecilia DuValle and Mary Trepanier

For the vampire erotica anthology Blood in the Rain 3, available October 2017, we seek short stories of 2000–7000 words with both a vampire and an erotic element—anything from a sexy tease to hardcore porn (we lean toward porn!) We encourage stories nonstereotypically including people of color, people who are LGBTQIA, and people over 18.

Most of all, we want compelling characters having hot sex, with a story that draws us in. And a vampire. Make us horny!

We pay within 30 days of publication: $75 plus two contributor’s copies.

== Send your story as a .doc, or .docx file to submissions@bloodintherain.com, with SUBMISSION and the story title in your subject line (for example, SUBMISSION: My Sexy Vampire Story).

== Use traditional manuscript format for your story. If you don’t know what that is, see this handy guide. And for the love of the gods, proofread before sending.

== Give us a short cover note, ideally with an author bio.

== Let us know if your story’s a reprint. We might take the perfect reprint, but original work is preferred.

== Send as many submissions as you want, but we’re not likely to pick more than one story from any writer.

== We’re buying first North American serial rights, first North American audio publishing rights, first world online rights, and archival rights (that is, to potentially archive your story on our website).

***

14 May 2017 — Sword and Sorceress 32 — ed. Elisabeth Waters

[NOTE: Do Not Submit before 24 April]

Stories should be the type generally referred to as “sword and sorcery” and must have a strong female protagonist whom the reader will care about. See past volumes of Sword and Sorceress for examples. We do not want stories with explicit sex, gratuitous violence, or profanity. We are NOT a market for poetry. We are willing to consider stories set in modern times (urban fantasy), but we don’t buy more than one or two of those for the anthology. We always want something short and funny for the last story.

No reprints. No simultaneous submissions.

With regard to multiple submissions, do not submit more than one story at a time. If we’ve rejected your first one, you may send one more, as long as it’s before the deadline. We have occasionally bought someone’s second submission. We have never bought a third, fourth, fifth, sixth, seventh, or eighth submission. If you send us two stories, and we don’t hold either of them, wait until next year to try again. Please do not re-submit stories we have already rejected (including stories rejected in previous years).

If you have not previously sold to Sword & Sorceress, please read What is a Short Story? and Why Did my Story Get Rejected? before submitting to us.

Reading period: Monday, April 24 to Sunday, May 14, 2017. Stories received before or after this period will be deleted unread.

Response time is expected to follow MZB’s traditional standards: you should hear within a week if we’re holding your story for the final line-up or rejecting it.

Length: up to 9,000 words, with preference given to shorter stories. The longer a story is, the better it has to be. Long stories should be submitted early in the reading period.

Cover Letter/e-mail: We don’t actually need a cover letter, but our e-mail program does. This year it started putting any e-mail with no body in the spam folder. So…

Please do not explain or describe your story in the e-mail. If your story can’t stand on its own, fix the story. The e-mail should be brief. For example:

Dear Miss Waters,

Attached is my story “The Dark Intruder” for consideration for Sword and Sorceress 32.

A bio and/or list of previous sales is optional at this point. If you put one in, it should be no longer than one short paragraph (up to 5 lines long).

Sincerely,

(Ms.) Marion Bradley

If your name could be either male or female, please indicate the gender, so we can address you properly when we reply.

Formatting and Submission:

Format with one-inch margins on all four sides of page.

Please do not use a header or footer.

Your legal name, full mailing address, and email address must be in the upper left corner, single spaced.

Skip two lines, center the text, then put the title, with your name (or byline) on the next line. We’re not as rigid as MZB was about pen names, but we expect them to be reasonable, rather than cute.

The rest of the manuscript should be single-spaced, with the first line of each paragraph indented 1/2 inch.

If you need to indicate a break, put “#” on a line by itself, centered.

Do not underline; use italics instead. Do not use bold face. We prefer Courier New font, size 12.

Word count will be determined by our word processor; that way it will be the same for everyone.

Save your document as an .rtf file (rich text format or interchange format, depending on what your computer calls it). E-mail as it as an attachment to mzbworks at gmail dot com. The subject line should be “SS32, your last name, story title” (e.g.: SS32, Bradley, Dark Intruder) — we don’t want submissions caught in the spam filter. Remember that a computer is sorting this, so follow the format exactly. Use commas, not slashes, hyphens, etc. Do not change SS32 to something similiar (e.g.: S&S 32). We do our best to find stories that have not been sorted properly, but we don’t guarantee success.

Rights purchased: first rights, non-exclusive eBook and audio book rights.

Payment: 6 cents per word as an advance against a pro rata share of royalties and foreign or other sales.

***

30 May 2017 [or until filled; see note at bottom] — Dark Luminous Wings — Pole to Pole Publishing

Pole to Pole Publishing is seeking short, original fiction for its upcoming anthology, Dark Luminous Wings, to be published October 2017. The volume draws inspiration from Richard Henry Stoddard’s poem, Mors et Vita, particularly stanza two:

Under the awful wings
Which brood over land and sea,
And whose shadows nor lift nor flee—
This is the order of things,
And hath been from of old:
First production,
And last destruction;
So the pendulum swings,
While cradles are rocked and bells are tolled.

Send us your stories about angels and demons, dragons and fairies, airplanes and ornathopters—and more. Let your imaginations soar, but let your stories be found in the darkest of places.

Stories should be 3,000-5,000 words (firm). Wings—of some sort—must be central to the theme of the story.

Hard Sells:

Profane and vulgar language. Because we market to both adult and YA readers, if you use an F-Bomb, and we accept your story, we’ll probably ask you to change it.

First person and Present Tense. We’ve published both: when the stories were very, very good. We want to let you know up front that we’re going to reject this most of the time. It’s just not our preference.

Excessive Gore and/or violence. Blood and guts are fine—as long as they’re part of the story and not the story itself.

Sex. See above about marketing to a wider audience.

Edition and Rights:

Dark Luminous Wings will be published in electronic and trade paperback in English. We are asking for exclusive, worldwide rights to your work for both electronic and print for six months only, and a non-exclusive right to keep your story in the anthology after that.

Payment: Payment is 2¢ per word, paid at publication, via PayPal only.

If you do not have a PayPal account, please do not submit your work.

Authors will also receive one copy of both the electronic and paperback versions of the anthology. (Authors can buy additional books at a discount.)

Bonus Royalties Multiplier:

If the anthology earns out, that is, recoups all up-front costs to produce within the first year, authors will also receive a royalty-share payment based on word-length of their story, at one-year from the date of publication.

What We Don’t Want:

No rape, torture, etc. of children. No animal abuse. No stories with characters from a copyrighted world that belongs to someone else.

No reprints.

No Poetry.

Submission Procedures:

Submit stories through the Submittable.

Formatting:

All stories should be in standard manuscript form and in rich text format (.rtf) only.

No tabs. Please format the document with a first line indent.

Curly quotes, please—no straight quotes.

Only one story from each author will be considered.

If you’re not sure if your story is suitable, don’t query; just go ahead and submit, and let our editors decide.

Deadline: May 30, 2017, or until filled. Be aware that our 2016 anthology filled before the deadline, so don’t wait until the last minute to submit.

***

31 May 2017 — Chiral Mad 4 — ed. Lucy A. Snyder and Michael Bailey

While previous volumes of Chiral Mad focused more on psychological horror, with most stories having some sort of chiral aspect in plot or character development or structure, Chiral Mad 4 will be open to just about anything, as long as the story has some sort of dark or speculative element. The only required chirality is with the collaboration itself … multiple minds working as one, in other words, to create something entirely new. We want this anthology to be as diverse as humanly possible, and will be looking for stories that bend and blend genres, stories that experiment with structure, and most importantly, stories that are not dependent upon common tropes.

Unlike past Written Backwards projects, this fourth volume in the critically-acclaimed series of anthologies will be a completely collaborative effort of originality, collecting 4 short stories, 4 novelettes, 4 novellas, and 4 graphic adaptations (to celebrate this 4th book), all co-authored and/or co-created. And the anthology itself will also be co-edited!

The goal of Chiral Mad 4 is to help bring our creative community together, to make us stronger, to strengthen relationships already in place, and to help create new relationships entirely. It’s time for all of us to play nice, to get along, and to do what we do best: create somethings out of nothings… and we’re going to create these beautiful somethings together. Have a specific writer/artist you’ve always admired? Well, now’s your chance. Reach out. Ask! That’s all it takes to get started. Find a partner, or two, or three, and start collaborating! The more unique the collaboration, the better the chances you have of making it into Chiral Mad 4. The more diverse the collaborations, the better the chances you have of making it into Chiral Mad 4. Now, here’s the hard part: knowing whether or not someone is already collaborating… Email CM4@nettirw.com if you have any questions or concerns about this, or to simply email your submission.

While half the anthology will be filled with commissioned works (the book is nearly half-filled already, with a few of the early acceptances announced below), the rest of the anthology is open for submissions for a short period of time. The submission window for non-commissioned contributors closes May 31st, 2017. So get to it! This is a very short window of opportunity.

Acceptances for non-commissioned work will not be announced until after June 30th, 2017, so we ask that we hold onto your work exclusively until then, as each submission will be carefully considered and agreed upon by both editors of this anthology. No simultaneous submissions, please.

What are we looking for?

== 4 short stories (5,000 words max)
== 4 novelettes (10,000 words max)
== 4 novellas (20,000 words max)
== 4 graphic adaptations (1,500 words max, or 10 pages)

Payment will be $.06 per word, capped at the max word counts listed above, split evenly between contributors. Two contributors writing a 5,000-word short story, for example, would split $300, or $150 each. Contributors writing a 10,000-word novelette would evenly split $600. Contributors writing a 20,000-word novella would evenly split $1,200. Graphic adaptations will be determined by the publisher/creators prior to acceptance; these are unique collaborations and payments for such are not as simple to calculate. In fact, 3 of the 4 slots for graphic adaptations are already filled, so please query CM4@nettirw.com before submitting. And, as always, contributor copies of each edition are part of the deal. Written Backwards has worked with many illustrators and artists in the past, so if you have a script but not an illustrator/artist lined-up, please let us know and we can arrange one for your story if we fall in love with your script.

So, hopefully all of this gets you excited, gets you eager to reach out to others in our creative community. Chiral Mad 4 is the most ambitious project ever imagined by Written Backwards. Please, be a part of it. Send your work to CM4@nettirw.com.

***

1 June 2017 — Corporate Cthulhu — Pickman’s Press

Of all bureaucracies, corporations are the most powerful, seeming to have a life and will of their own. They’re privately held with a multi-national reach, seemingly bottomless resources, and armies of lawyers jealously guarding their trade secrets. Anything and everything is justified by the bottom line. Who needs a Cthulhu Cult when you’ve got Cthulhu, Inc.?

Into this insidious world are thrust our heroes—the curious, the puzzled, and the frustrated. Defying authority, seeking answers they’d be better off not knowing, the secrets they discover threaten their sanity and their lives. Will they become the next whistleblower media hero? Or disappear, leaving nothing behind but an empty desk and whispered rumors in the break room? Remember: it’s nothing personal—just business.

Corporate Cthulhu is a Lovecraftian horror anthology about the intersection of the Cthulhu Mythos and corporations or other large bureaucracies.

This is an OPEN call for submissions—anyone and everyone is free to submit a short story to the slush pile. Feel free to share this with other writers you think might be interested.

What We’re Looking For

== Short stories up to 7000 words.

== Original, previously unpublished fiction.

== We’re particularly interested in submissions from writers traditionally underrepresented in sci-fi, fantasy, and horror fiction. This includes racial, ethnic, and religious minorities, women, LGBTQ+ individuals, and people living with disabilities.

== Stories must include at least a passing connection to the Cthulhu Mythos and/or Lovecraft’s other work. The stronger the connection, the more likely the story is to be accepted.

== Stories that make skillful use of Lovecraftian horror themes: insanity, helplessness and hopelessness, inherited guilt, old isolated locations, books of forbidden knowledge, ancient extraterrestrial influences on humanity, the risks of runaway science, civilization vs. barbarism, humanity’s insignificance on the cosmic scale of space and time, unanswered questions about what lurks behind the curtain of reality, etc.

== Although we’re expecting a lot of stories where management is a cult in disguise (and that’s fine!), we encourage writers to think outside the box. Other elements of the business cycle include labor (a union strikes over a bizarre demand) and customers (how far will a struggling company go to meet their biggest customer’s increasingly strange requests?).

== Although the primary focus is on corporate bureaucracies, ANY large private-sector bureaucracy is fair game. This could include (among others) charities, nonprofits, NGOs, private universities, for-profit hospitals, labor unions, large churches, fraternal organizations, youth groups, etc.

== Stories set in any time period during the modern industrial capitalist era (roughly 1800 on up). Query first for stories set in other time periods.

== Comedies, parodies, and/or satires are acceptable.

What We’re NOT Looking For

== Romances or erotica.

== Stories under 2000 words or over 7000 words.

== Stories taking place in governmental or other public-sector bureaucracies. As much fun as it may be to have Cthulhu running the IRS, save those ideas for a later Political Cthulhu anthology.

Payment

If selected, authors will receive $0.03 cents per word for original, previously unpublished fiction. Original fiction strongly preferred; query first for reprints. In the unlikely event that we do accept a reprint, payment will be $0.01 cent per word. Publication is dependent on a successful Kickstarter campaign to fund the project. There will be no kill fees.

Rights

Exclusive global English first print and digital rights for one year, and nonexclusive print and digital rights for term of copyright. All other rights are reserved to the author.

Submitting

Stories should follow the format laid out in the submission guidelines; if not, it may be automatically rejected. Submissions should be emailed to submissions@pickmanspress.com with the story included as an attachment in .doc, .docx, or .rtf format, and must be received no later than midnight, Central Standard Time, June 1st, 2017. The email subject should read [Submissions: Story Title by Author Name]. If accepted, minor edits and revisions may be requested. The Kickstarter campaign will begin after the stories have been selected.

Patreon Follow-Up

I’ve figured out how I want to schedule anthology posts, juggling posts here along with the various Patreon levels, two of which get posts a week early. I did the April post yesterday and put it up on my Patreon account, for folks getting the regular listing a week early, and folks getting my full listing, which also goes up a week early. Nobody’s signed up for those levels yet, but if anyone does, they’re there. 🙂

I have the post for here on the blog ready to go in drafts, and I’ll release it on the 15th. Changing the lock on the April Patreon post from $3 to $1 will let those supporters see it. (I did a test, and $1 supporters do get an e-mail when a $3 post has its lock changed, so that works, yay.)

It’s interesting (and sometimes frustrating) to actually dive into a completely new system and figure out how it works, what doesn’t work the way I thought it would, and what the most efficient workflow will be each month.

One thing I didn’t know when I started this is that Patreon won’t accept HTML code in its posts. :/ At all. The completely unhelpful Help topic discussing this says it’s because they haven’t been able to get HTML to work in their mobile apps. Which isn’t my problem, and doesn’t make me any happier with this.

I hand code my posts here — I’ve been online since before HTML was a thing, and while I’m not any kind of a wizard at it, the sort of coding that’s useful for a basic blog post is pretty automatic for me — and I just assumed I could do a copy/paste to put things onto Patreon. Well, not so much. [headdesk]

Patreon has its own system for formatting posts and inserting links, and once you see how it works, it’s very easy to use. Which doesn’t change the fact that it took me about an hour and a half to convert my post (keeping in mind that I was doing my full file, not just the two months’ worth I post each month) and get everything looking more or less the way I wanted. It wasn’t hard, (yay, HTML!) there was just a lot of it. 😛

Since I’m still posting on my blogs, I can’t just convert over to Patreon’s system; I have to maintain two formats for the listings. I’m hoping that, now that I’ve reformatted my whole file, maintaining two differently formatted files in parallel won’t be such a hassle. I usually find a few new markets per month, depending on the season, so I won’t have to redo the whole thing again. I’ll just double format each new entry and insert it into its master file. Hopefully that’ll work. [crossed fingers] I keep my files in Word documents, and in the past I’ve had trouble saving something to Word, then re-opening the file and posting it into a different system. Not often, but occasionally, something will go Sproing! at that point and it’s time to start headdesking again. Hopefully that won’t happen this time. [more crossed fingers]

After a night’s sleep, I’m feeling a bit better about this. I’m sure I’ll figure out a decent workflow, although I won’t know until next month. We’ll see.

I do think my problem is probably particular to me. What I’m putting up on Patreon is pretty unusual; most other creators whose pages I’ve browsed are offering art, music, video, that sort of thing. The writers are (unlike me) generally focusing on their fiction creation, and they post downloadable files of stories, or short videos, podcasts or blog posts talking about their creating, their experiences, their characters and worlds, answering questions, etc. Also cat pictures. [wry smile] Writing right into the Patreon form isn’t difficult; I’m probably one of very few people trying to paste huge swathes of HTMLed text into Patreon, so I doubt anyone’s working behind the scenes to make HTML work on that system.

At any rate, it does seem to be working. Onward….

Angie

Patreon

Okay, I got a bunch of responses to my question about a Patreon last month, mostly in e-mail, and all of them were positive. So I’ve set up a Patreon page, yay. 🙂

[Yes, it says Angie Penrose. That’s the name under which I publish SF, Fantasy and Mystery/Crime. I set up the account under that name when I started supporting some other creatives, and it seemed silly to set up a second account, just to have my romance name at the top of the page. It’s still me. 😀 If you read any of those genres, my Angie Penrose blog is here.]

Now that I’ve poked with the system a bit and seen how things actually work, I’ve made some changes in how I’ve set it up, versus what I came up with when I was thinking with my keyboard before.

First, I’ve set it up for a monthly donation, rather than per work. I originally wanted it to be per work, so if I missed a month (which I’ve only done twice in the eight years [wow, eight years, really?!?] that I’ve been doing the anthology listings) it wouldn’t be a huge deal and no one would get charged. But Patreon won’t let you do a “paid” post that only charges a subset of your patrons — I don’t know why not, but there you go.

So, I want to offer an option to get my whole list (which means all the anthologies I know about at the time, rather than just the two months’ worth I post here) as a premium reward. But there’s no way to only charge the $5/month people for that one, while only charging the $1-3/month people for the shorter listing. If I posted them both, it’d charge everyone twice a month, and that wouldn’t work. Charging everyone once a month seems to be the way to go; I’ll do my best to maintain my low rate of missed months.

Also, I originally thought about doing PDFs of the listing to e-mail people, as a sort of slightly fancier way of distributing things. But half the usefulness of the listings, now that I’ve thought more about it, comes from the links to the editor/publishers’ web sites. They very often have more info than I include in the listings, and I always recommend a writer click through and check out the site before submitting something. That’s tough to do from a PDF. Scratch that idea.

So I’ll be posting the listings to my Patreon page, and patrons will get an automatic e-mail.

If you use the listings, if you find them helpful, any support would be appreciated. If you can’t afford to contribute right now, that’s fine; I totally get that times are tough for a lot of people. And I’ll still be posting the listings here; I’m not cutting off anyone who can’t afford to support my Patreon.

Here we go — let’s see how this works. 🙂

Thanks!

Angie

Anthology Markets

If you’ve just wandered in off the internet, hi and welcome. 🙂 I do these posts every month, so if this post isn’t dated in the same month you’re in, click here to make sure you’re seeing the most recent one.

Markets with specific deadlines are listed first, “Until Filled” markets (if any) are at the bottom. There are usually more details on the original site; always click through and read the full guidelines before submitting. Note that some publishers list multiple guidelines on one page, so after you click through you might have to scroll a bit.

NOTE: Problem Daughters has been cancelled.

***

31 March 2017 — This Side of the Divide — Baobab Press

Baobab Press and the University of Nevada, Reno MFA Program in Creative Writing are partnering to publish This Side of the Divide, an anthology of short fiction by emerging and established authors exploring the United States West.

This exciting project will speak to the West’s newness, vastness, sense of territoriality and transience, spanning from untouched wilderness to hyper-urban settings. We’re seeking fresh, original views of the western U.S. Our aim is to capture this region’s unique essence in all of its cultural and geographic diversity.

All submissions will be reviewed, and accepted works will be edited by a committee of readers from Baobab Press and the UNR MFA Program in Creative Writing. Selected writers will receive a complimentary copy of the book and a payment of $100. Submitted stories should be around 3,000 to 5,000 words, and will need to be submitted for review no later than March 31st, 2017. Please send your story and a brief cover letter to divide@baobabpress.com.

***

31 March 2017 — A Fool for You — Less Than Three Press

A Fool for You — LGBTQIA — Clowns. Pick pockets. Magicians. Jesters. Witches. Demons. Even gods. Tales of Tricksters abound in every culture, sometimes as fools, sometimes as sly schemers too smart for anyone’s good. They are often known as shape shifters and gender fluid—and they are always up to something. Sometimes for good, sometimes for evil, sometimes simply to see what happens…

Less Than Three Press invites you to submit stories of tricksters and all the mischief they can manage—and what happens when they meet their match.

THE DETAILS:
== Put SUBMISSIONS: A FOOL FOR YOU in the subject line.
== Stories should be at least 10,000 words and should not exceed approx 20,000 words in length.
== Stories must revolve around the theme of tricksters.
== Stories must have a happily ever after (HEA) or happy for now (HFN) end.
== Any sub-genre is gladly accepted: sci-fi, mystery, contemporary, steampunk, etc.
== All usual LT3 submission guidelines apply.

A Fool For You is a general release anthology, which means authors will receive a flat payment of $200.00 once LT3 has a signed contract. Authors will receive one copy each of the ebook formats LT3 produces and two copies of the paperback compilation.
Stories should be complete before submitting, and as edited as possible — do not submit a first draft. They can be submitted in any format (doc, docx, rtf, odt, etc) preferably single spaced in an easy to read font (Times, Calibri, Arial) with no special formatting (no elaborate section separation, special fonts, etc). Additional formatting guidelines can be found here.

Questions should be directed to the Editor in Chief, Samantha M. Derr, at derrs@lessthanthreepress.com (or you can ping her on twitter @rykaine). Submissions should be sent to submissions@lessthanthreepress.com.

***

31 March 2017 — Utter Fabrication — Mad Scientist Journal

We will be creating an anthology titled Utter Fabrication: Historical Accounts of Unusual Buildings and Structures. It will be a collection of fictional stories about haunted houses and other weird places. For this anthology, our pay will be 2¢/word.

We are particularly looking for stories from authors who are underrepresented in fiction: people of color, LGBTQ, non-Western religions and cultures.

Each story is written from the perspective of someone who has encountered this strange location. Like our regular magazine, this narrator will also have a bio. Be certain that your story meets these requirements:

== 1st person
== 500-8000 words in length
== Focuses on a strange building or place
== Not a reprint

Here are some ideas that we pitched when we made our Kickstarter, but this is meant to be inspirational and not definitive.

== Haunted houses, obviously.
== Space stations poised at the edge of an anomaly.
== Towns missing people for no clear reason.
== Espresso stands that travel through time.
== Malls that function as dimensional crossroads.
== A cursed painting in an otherwise empty field.
== Unusual sculptures that seem to come from out of this world.
== Structures or ruins left behind by indigenous peoples. (But please don’t stoop to “Indian burial ground” or similar tropes. Seriously, don’t be that person.)

DO NOT send us poetry or screenplays.

Submissions should be in Standard Manuscript Format and sent via Submittable between March 1 and March 31. As with our regular submissions, we are asking for exclusive first worldwide electronic and print rights for one year. Multiple submissions are okay, simultaneous submissions are not.

***

1 April 2017 — Would But Time Await — ed. S.J. Bagley; Orford Parish Books

[NOTE: The guidelines say “until April,” without giving an actual date. I’m listing this as 1 April, but be aware this is a guess on my part. Also, note that these folks want a query first and won’t read manuscripts unless they get a query ahead of time. So query first, and while you’re asking, find out when they actually want the story by.]

In 2017, Orford Parish Books will be releasing WOULD BUT TIME AWAIT: AN ANTHOLOGY OF NEW ENGLAND FOLK HORROR (edited by s.j. bagley, editor [and interrogator] of THINKING HORROR: A JOURNAL OF HORROR PHILOSOPHY.)

Please read and the guidelines before submitting a query and direct all queries to heksenhaus@gmail.com with the subject header ‘FOLK HORROR QUERY.’

(All stories sent without a prior query will be deleted, unread.) [Bolding mine.]

WHAT WE DEFINE AS FOLK HORROR AND WHAT WE’RE LOOKING FOR.

For the purposes of this project, we are defining folk horror as horror literature in which the present (which can be a year/decade of the author’s choosing) collides with the history, folklore, traditions, and psychogeography of a region and where that collision has a significant impact on the present (as defined in the work.)

We are looking for work that uses the physical, historical, and social landscapes of New England as a focal point (rather than a story that could be set anywhere else but just happens to be set in New England.)

There is a long and rich history of horrific and strange folklore in New England but that doesn’t mean a writer needs to restrict themselves to it and writers are perfectly welcome to invent their own folklore, traditions, and fictional New England locations.

We should also stress that, while Folk Horror has largely been a rural construct, we by no means consider a rural location to be necessary to any working definition of the term.

A few examples of what we consider Folk Horror in literature:

[Click through for an extensive list of examples.]

WHO CAN SUBMIT.

We are open to submissions from writers from every global region and every walk of life and, while each story needs to focus (in some manner) on the geographic region of New England (which consists of Connecticut, Rhode Island, Massachusetts, Maine, New Hampshire, and Vermont) we certainly don’t require that every author needs to be from that region.

We expect and encourage diversity in regard to the voices involved in this project.

DEADLINES AND SCHEDULE.

Submissions will be open until April 2017, at which point we will no longer be accepting submissions or queries.

Publication date is summer 2017 (with a more firm date to come.)

PAYMENT.

We will be paying a flat rate of $75USD upon acceptance for first rights in print and digital.

STORY CRITERIA.

Length: 2,000-10,000 words.

Each story MUST either be set in New England or contain elements of New England folklore and history.

Each story MUST be folk horror (which we fully and happily acknowledge as being a broad and diverse term but we are defining as stated above.)

No reprints.

No simultaneous submissions.

SOME THINGS TO KEEP IN MIND BEFORE SUBMITTING:

New England is an ethnically diverse region of the United States with a long (and often sordid) history so please keep the contemporary effects of that history in mind when submitting and avoid work that portrays the indigenous people and tribes of New England in a racist, bigoted, or stereotypical sense and please avoid stereotypes of the poor, and economically disenfranchised, all races, genders, sexes, sexualities, (dis)abilities, faiths, and anything that targets marginalized people.

In general, we are looking to avoid depictions of sexual violence (unless written with extreme care, an actual point beyond the simple violence of it, and, above all, empathy toward victims of sexual violence.)

***

15 April 2017 — Cat’s Breakfast — Third Flatiron

Science fiction/satire. Now at the 10th anniversary of his death, Wikipedia says Kurt Vonnegut was famous for his “gallows humor.” E.E. King put it another way, citing his “sideways, humorous, skeptical view.” We want this anthology to pay tribute to the imagination and inspiration of the ineffable Mr. Vonnegut.

Third Flatiron Publishing is based in Boulder, Colorado, and Ayr, Scotland. We are looking for submissions to our quarterly themed anthologies. Our focus is on science fiction and fantasy and anthropological fiction. We want tightly plotted tales in out-of-the-ordinary scenarios. Light horror is acceptable, provided it fits the theme.

Please send us short stories that revolve around age-old questions and have something illuminating to tell us as human beings. Fantastical situations and creatures, exciting dialog, irony, mild horror, and wry humor are all welcome. Stories should be between 1,500 and 3,000 words. Inquire if longer.

Role models for the type of fiction we want include Kurt Vonnegut, Arthur C. Clarke, Dan Simmons, Connie Willis, Vernor Vinge, and Ken Kesey. We want to showcase some of the best new shorts available today.

For each anthology, we will also accept a few very short humor pieces on the order of the “Shouts and Murmurs” feature in The New Yorker Magazine (600 words or so). These can be written from a first-person perspective or can be mini-essays that tell people what they ought to do, how to do something better, or explain why something is like it is, humorously. An SF/Fantasy bent is preferred.

***

30 April 2017 — SNAFU Judgement Day — ed. Amanda J Spedding and Geoff Brown; Cohesion Press

Post-apocalyptic military horror.

The end of the world as we know it.

What we want: Invading space aliens, demonic invasion as in Doom, DNA-grafted dinosaurs taking over the planet, manmade viral infections that nearly wipe out humanity, or artificial intelligence like in Terminator… anything you can think of that would bring about the end of the world. And SOLDIERS!

Tell us about what happens during the worst of the fall of humanity or afterwards.

No zombies. That’s already taken care of.

Full action. Nothing less.

Hoo-rah!

Payment: AUD4c/word and one contributor copy in each format released.

Wordcount range: 2,000 – 10,000 words (query for shorter or longer)

No selections will be made until after the period closes.

Projected publication date: Late 2017

We will have some solicited authors alongside the open call, with the first being Jonathan Maberry.

Please follow these guidelines when submitting to us:

== Please put your full contact details on the first page of the manuscript top left, with word count top right.
== Standard submission format, with minimal document formatting.
== Courier or Times New Roman set at 12pt. Italics as they will appear. No underlining.
== Double spaced.
== Please don’t use TAB or space bar to indent lines. Use ‘styles’ only. If unsure or using a program that has no styles, DO NOT indent at all. That’s still cool.
== NO SPACE between paragraphs unless a line-break is required. ONE SPACE after full stops.
== Please put full contact details on the first page of the manuscript (yes, I said this twice… it’s important).
== Send your submission to Geoff Brown at submissions@cohesionpress.com as an attachment (.doc/.rtf only)
== In the subject line of your email, please put JudgementDay: [STORY TITLE] (Replace [STORY TITLE] with your actual story title. Yes, unfortunately I do need to state this)

NO MULTIPLE SUBMISSIONS

NO SIMULTANEOUS SUBMISSIONS

NO REPRINTS

Please include a brief ‘hello, this is who I am’ in your email body as a cover letter.

Blank emails with attachments will be deleted.

For a guide to standard submission format, see: http://www.shunn.net/format/story.html

The only variations to this format are that italics MUST appear as they will be used – no underlining – and again, only one space after a full stop.
Anyone that fails to follow these guidelines will likely see their story shredded by zombie mutant creatures.

***

30 April 2017 — Unidentified Funny Objects 6 — ed. Alex Shvartsman

Unidentified Funny Objects is an annual anthology of humorous SF/F. Past headliners include George R. R. Martin, Neil Gaiman, Esther Friesner, David Gerrold, Laura Resnick, Mike Resnick, Piers Anthony, Kevin J. Anderson, etc.

For UFO6 we’re seeking all style and sub-genres of speculative humor.

SUBMISSION WINDOW: April 1 – April 30, 2017

LENGTH: 500-5000 words.

PAYMENT: $0.10 per word + contributor copy. Payment will be made upon acceptance. Our preferred method of payment is via PayPal, but you may request a check.

FORMAT: RTF or DOC. Standard Manuscript Format or something close to. (We won’t take points off if you prefer Courier over Times New Roman or some such).

SEND TO: Upload your stories via this submissions link.

Limit of 1 submission per author — even if you receive a response before the submission window closes please do not send another story unless directly invited to do so.

Please do not respond to rejections. The email address associated with submissions is not monitored. If you wish to query for any reason, please use the contact form or e-mail us: ufopublishing at gmail dot com.

RIGHTS SOUGHT: First Worldwide print and electronic English Language rights. Exclusivity for 90 days from date of release. Non-exclusive print, e-book, and audio rights afterward. Preview sample contract.

POLICIES & RESPONSE TIME: No reprints, multiple or simultaneous submissions please. Do not send any stories we already considered for a previous UFO volume or any other anthology edited by Alex Shvartsman. You may query after 30 days. Please send only one submission per author unless directly invited to send more.

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.

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:

* Zombies
* Vampires
* Deals with the Devil / Djinn in a bottle variants
* Stereotypical aliens probing people, abducting cattle, and doing other stereotypical alien things.

***

1 May 2017 — Blood in the Rain 4 — ed. Cecilia DuValle and Mary Trepanier

For the vampire erotica anthology Blood in the Rain 3, available October 2017, we seek short stories of 2000–7000 words with both a vampire and an erotic element—anything from a sexy tease to hardcore porn (we lean toward porn!) We encourage stories nonstereotypically including people of color, people who are LGBTQIA, and people over 18.

Most of all, we want compelling characters having hot sex, with a story that draws us in. And a vampire. Make us horny!

We pay within 30 days of publication: $75 plus two contributor’s copies.

== Send your story as a .doc, or .docx file to submissions@bloodintherain.com, with SUBMISSION and the story title in your subject line (for example, SUBMISSION: My Sexy Vampire Story).

== Use traditional manuscript format for your story. If you don’t know what that is, see this handy guide. And for the love of the gods, proofread before sending.

== Give us a short cover note, ideally with an author bio.

== Let us know if your story’s a reprint. We might take the perfect reprint, but original work is preferred.

== Send as many submissions as you want, but we’re not likely to pick more than one story from any writer.

== We’re buying first North American serial rights, first North American audio publishing rights, first world online rights, and archival rights (that is, to potentially archive your story on our website).

***

14 May 2017 — Sword and Sorceress 32 — ed. Elisabeth Waters

[NOTE: Do Not Submit before 24 April]

Stories should be the type generally referred to as “sword and sorcery” and must have a strong female protagonist whom the reader will care about. See past volumes of Sword and Sorceress for examples. We do not want stories with explicit sex, gratuitous violence, or profanity. We are NOT a market for poetry. We are willing to consider stories set in modern times (urban fantasy), but we don’t buy more than one or two of those for the anthology. We always want something short and funny for the last story.

No reprints. No simultaneous submissions.

With regard to multiple submissions, do not submit more than one story at a time. If we’ve rejected your first one, you may send one more, as long as it’s before the deadline. We have occasionally bought someone’s second submission. We have never bought a third, fourth, fifth, sixth, seventh, or eighth submission. If you send us two stories, and we don’t hold either of them, wait until next year to try again. Please do not re-submit stories we have already rejected (including stories rejected in previous years).

If you have not previously sold to Sword & Sorceress, please read What is a Short Story? and Why Did my Story Get Rejected? before submitting to us.

Reading period: Monday, April 24 to Sunday, May 14, 2017. Stories received before or after this period will be deleted unread.

Response time is expected to follow MZB’s traditional standards: you should hear within a week if we’re holding your story for the final line-up or rejecting it.

Length: up to 9,000 words, with preference given to shorter stories. The longer a story is, the better it has to be. Long stories should be submitted early in the reading period.

Cover Letter/e-mail: We don’t actually need a cover letter, but our e-mail program does. This year it started putting any e-mail with no body in the spam folder. So…

Please do not explain or describe your story in the e-mail. If your story can’t stand on its own, fix the story. The e-mail should be brief. For example:

Dear Miss Waters,

Attached is my story “The Dark Intruder” for consideration for Sword and Sorceress 32.

A bio and/or list of previous sales is optional at this point. If you put one in, it should be no longer than one short paragraph (up to 5 lines long).

Sincerely,

(Ms.) Marion Bradley

If your name could be either male or female, please indicate the gender, so we can address you properly when we reply.

Formatting and Submission:

Format with one-inch margins on all four sides of page.

Please do not use a header or footer.

Your legal name, full mailing address, and email address must be in the upper left corner, single spaced.

Skip two lines, center the text, then put the title, with your name (or byline) on the next line. We’re not as rigid as MZB was about pen names, but we expect them to be reasonable, rather than cute.

The rest of the manuscript should be single-spaced, with the first line of each paragraph indented 1/2 inch.

If you need to indicate a break, put “#” on a line by itself, centered.

Do not underline; use italics instead. Do not use bold face. We prefer Courier New font, size 12.

Word count will be determined by our word processor; that way it will be the same for everyone.

Save your document as an .rtf file (rich text format or interchange format, depending on what your computer calls it). E-mail as it as an attachment to mzbworks at gmail dot com. The subject line should be “SS32, your last name, story title” (e.g.: SS32, Bradley, Dark Intruder) — we don’t want submissions caught in the spam filter. Remember that a computer is sorting this, so follow the format exactly. Use commas, not slashes, hyphens, etc. Do not change SS32 to something similiar (e.g.: S&S 32). We do our best to find stories that have not been sorted properly, but we don’t guarantee success.

Rights purchased: first rights, non-exclusive eBook and audio book rights.

Payment: 6 cents per word as an advance against a pro rata share of royalties and foreign or other sales.

***

31 May 2017 — Chiral Mad 4 — ed. Lucy A. Snyder and Michael Bailey

While previous volumes of Chiral Mad focused more on psychological horror, with most stories having some sort of chiral aspect in plot or character development or structure, Chiral Mad 4 will be open to just about anything, as long as the story has some sort of dark or speculative element. The only required chirality is with the collaboration itself … multiple minds working as one, in other words, to create something entirely new. We want this anthology to be as diverse as humanly possible, and will be looking for stories that bend and blend genres, stories that experiment with structure, and most importantly, stories that are not dependent upon common tropes.

Unlike past Written Backwards projects, this fourth volume in the critically-acclaimed series of anthologies will be a completely collaborative effort of originality, collecting 4 short stories, 4 novelettes, 4 novellas, and 4 graphic adaptations (to celebrate this 4th book), all co-authored and/or co-created. And the anthology itself will also be co-edited!

The goal of Chiral Mad 4 is to help bring our creative community together, to make us stronger, to strengthen relationships already in place, and to help create new relationships entirely. It’s time for all of us to play nice, to get along, and to do what we do best: create somethings out of nothings… and we’re going to create these beautiful somethings together. Have a specific writer/artist you’ve always admired? Well, now’s your chance. Reach out. Ask! That’s all it takes to get started. Find a partner, or two, or three, and start collaborating! The more unique the collaboration, the better the chances you have of making it into Chiral Mad 4. The more diverse the collaborations, the better the chances you have of making it into Chiral Mad 4. Now, here’s the hard part: knowing whether or not someone is already collaborating… Email CM4@nettirw.com if you have any questions or concerns about this, or to simply email your submission.

While half the anthology will be filled with commissioned works (the book is nearly half-filled already, with a few of the early acceptances announced below), the rest of the anthology is open for submissions for a short period of time. The submission window for non-commissioned contributors closes May 31st, 2017. So get to it! This is a very short window of opportunity.

Acceptances for non-commissioned work will not be announced until after June 30th, 2017, so we ask that we hold onto your work exclusively until then, as each submission will be carefully considered and agreed upon by both editors of this anthology. No simultaneous submissions, please.

What are we looking for?

== 4 short stories (5,000 words max)
== 4 novelettes (10,000 words max)
== 4 novellas (20,000 words max)
== 4 graphic adaptations (1,500 words max, or 10 pages)

Payment will be $.06 per word, capped at the max word counts listed above, split evenly between contributors. Two contributors writing a 5,000-word short story, for example, would split $300, or $150 each. Contributors writing a 10,000-word novelette would evenly split $600. Contributors writing a 20,000-word novella would evenly split $1,200. Graphic adaptations will be determined by the publisher/creators prior to acceptance; these are unique collaborations and payments for such are not as simple to calculate. In fact, 3 of the 4 slots for graphic adaptations are already filled, so please query CM4@nettirw.com before submitting. And, as always, contributor copies of each edition are part of the deal. Written Backwards has worked with many illustrators and artists in the past, so if you have a script but not an illustrator/artist lined-up, please let us know and we can arrange one for your story if we fall in love with your script.

So, hopefully all of this gets you excited, gets you eager to reach out to others in our creative community. Chiral Mad 4 is the most ambitious project ever imagined by Written Backwards. Please, be a part of it. Send your work to CM4@nettirw.com.

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This is Angie again. If you’ve gotten this far, I assume you’re a writer who thinks this monthly listing is useful.

I’ve been doing this for quite a few years now, and I spend some hours each month searching the web and putting this listing together. That’s time I could spend writing. I feel good about doing this as a community service, but there are definitely times when I’m busy with other projects, don’t have time to write for an anthology, and wouldn’t have bothered going searching if it weren’t for doing this post every month.

I’ve had a few people poke me about giving folks a way to donate a few bucks. I’m pondering the thought, and decided to see what you folks, the ones who actually use the listing, think.

What I’m considering is a Patreon. Let me think with my keyboard for a few….

First, this listing will go up here on my blog for free for as long as I keep doing it. If you can’t afford to chip in, that’s fine, I won’t cut you off. But I’ve thought of a couple of incentives I could offer for people who are willing and able to pay a bit.

Payment would be per posting, not per month. So if I miss a month (which I’ve done, once when I was in the middle of moving, and once during a December when I was doing holiday stuff and just zoned on it 😛 ) no one will be charged.

For $1 per month, I’ll e-mail you a PDF copy of that month’s listing, so you don’t have to remember to come here looking for it.

For $2 per month, I’ll e-mail you a PDF copy of that month’s listing a week before it goes up on my blogs.

For $5 per month, I’ll e-mail you a PDF of my entire on-deck listing, a week before the regular post goes up on my blogs. That’s all the anthologies I know about at that point. I only post about two months’ worth at a time, but I always have more on deck. This level would give you everything I’ve got, which gives you a lot of time to come up with story ideas and fit a project into your schedule, for projects I find early, and I find some way early. Right now waiting on deck I have two anthos with deadlines in July, one in September, one in December, and one in January.

What do you think? Would anyone sign up?

If you don’t want to comment here, e-mail me at angiebenedetti at gmail dot com.

And heck, even if you can’t afford to contribute anything but you think this listing is useful, comment or e-mail me anyway, whenever. Especially if you got something published in an anthology you found here — I love when folks let me know about that. 🙂

Thanks for your time, and best of luck with all your submissions,

Angie