$5.00 USD

We are open to general submissions year round, with the following publication dates in 2017:

  • January 21 – Issue 1:2017 (be sure to submit by 12/30!)
  • March 20 – Staff Issue
  • June 21 – Issue 2:2017
  • September 22 – Issue 3:2017
  • December 21 – Issue 4:2017

Here is how you win our hearts and minds:

  • Speculative fiction with a literary bent (please see our Read This page for ideas on what we tend to like.)
  • Science Fiction that doesn’t blame technology for the fall of humanity
  • Fantasy that takes advantage of the genre and eschews easy tropes
  • Diverse, thoughtful cast of characters (i.e. not everyone is a white dude, except that one group of downtrodden women in a village who was attacked by Orcs.)
  • Stories that take up 3500 words or less
  • Edited, polished manuscripts
  • Old stories told in a new way
  • New stories told in an old way
  • Sad endings that don't rely on gimmicks or shock value
  • Happy endings that hurt a little bit
  • Beautiful prose and well developed plot

Thank you, but no thank you to:

  • Violence for the sake of violence
  • Damsels in Distress™
  • Superior elves, grumbling dwarves or any sort of Tolkien regurgitation
  • Robots who want to destroy of all of humanity because it’s logical and we can’t stop them anyway because somehow no one remembers how to program the damn things anymore.
  • Mermaids - we receive far too many mermaid stories.
  • Fairy tale fan fiction - we’d rather you just make your own fairy tale up out of the ether, if we’re honest.
  • Zombies, vampires, werewolves, etc. Not our thing.
  • Cultural fetishism and appropriation
  • Any fantasy story where women are subjugated because it’s “historically accurate to humanity.” This is not historical fiction.
  • Redheaded Strong Female Characters with green eyes who are catlike. No. Don’t do it.
  • We're good with profanity, but it needs to fit the story
  • Poetry - the thing is, we love it, but we're not there yet
  • Rape stories are vital stories. 1 in 4 women report being raped, and men are often silent victims of assault. However, many of the rape stories we've read in our careers as writers and slushers and editors do not explore the nuances of character available, and use the act of rape for shock value or to create a victimized character who can be saved.
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