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The Diverse Writers & Artists of Speculative Fiction
Strap in and enter worlds of wonder in Chosen Realities: Summer 2020. The Journal contains a dazzling array of short stories, scripts, interviews, and more! Stroll through fantastical universes, rocket through science fiction landscapes, and muse on poetry in this jam-packed introductory volume of the Journal of Diverse Writers and Artists of Speculative Fiction. Entertainment and enlightenment await!
Read the Reviews!
This is an essential #ownvoices journal -- the first issue from the Diverse Writers and Artists of Speculative Fiction (DWASF) -- which contains commentaries, essays, fiction, poetry, and more. This should be as widely available as possible, particularly in public, school, and academic libraries. The poetry in particular was heart-wrenching and heart-breaking.
The poems had a huge impact on me from K Ceres Wright, John Edward Lawson (some of whose breathtaking photography is also featured within), Scott Key, in particular, but all of them were thought-provoking, challenging, and cut deep. LH Moore's commentary on what it is like to be a Black writer of speculative fiction was an illuminating and eye-opening read that deserves as wide of an audience as possible. L. Marie Wood's pieces, "Horror and Romance" and "All Stories are Horror Stories" were fascinating. For readers wanting to diversify their palettes, particularly with more AfroFuturism, this journal issue is an excellent place to start. The authors featured within have such evocative work -- everyone should buy a copy of this issue. ~ Eva, reader on GoodReads.com
Chosen Realities, the Summer 2020 Journal of the Diverse Writers and Artists of Speculative Fiction, has something for every lover of speculative fiction. With immersive and imaginative short stories, impactful poetry, commentary on the genre, and peppered with interviews, this collection is a must read. ~ Kenesha Williams, Founder/Editor-in-Chief of Black Girl Magic Literary Magazine
How Do You Build a World?
Worldbuilding is the process of constructing an imaginary world, sometimes associated with a whole fictional universe. Developing an imaginary setting with coherent qualities such as a history, geography, and ecology is a key task for many science fiction or fantasy writers. Worldbuilding often involves the creation of maps, a backstory, and races, including social customs and, in some cases, an invented language for a world. (Wikipedia)
K. Ceres Wright discusses Worldbuilding with AFROFuturists LH Moore and William Jones who share their insights about realistic and entertaining stories for readers and writers.
Top 20 Places to Submit Speculative Fiction
Looking for places to submit your science fiction, fantasy, or horror stories? We've got you covered. Check out this article: https://internationalwriterscollective.com/top-20-places-to-submit-speculative-fiction/
SF/F Markets for August
7 Paying SFF Markets
by Avery Springwood
There are loads of paying science fiction and fantasy markets out there. You’ve probably heard of long-established giants like Asimov’s Science Fiction, Fantasy & Science Fiction (F&SF), Apex, Analog Science Fiction & Fact, and Clarkesworld, but here are seven more markets that pay SFWA professional rates of 8c/word, or more.
Happy speculative fiction writing everyone!
Cossmass Infinities is a SF and fantasy magazine, paying 8c/word for 2000-10000 word stories. They publish some stories online and some only in their ebook and print editions, and welcome stories from new writers and stories from Black, Asian, Latin, LGBTQ+ and other under-represented authors. The magazine has a regular submissions window which runs from the 1st to the 7th of every month (which opens/ closes at midnight UTC). Average response time: rejections = 25 days, acceptances = 66 days, but allow 3 months before querying.
Examples of accepted stories online are worth studying.
Full guidelines: https://www.cossmass.com/submit
Daily Science Fiction pays 8c/word for speculative fiction stories of 100-1,500 words. They accept all sub-genres/styles of fantasy and SF. Every accepted story is available to read for free online, and you can also subscribe to receive a new story every weekday by email if you wish, also for free. Their accepted stories can be browsed, by topic, HERE.
Average response time: rejections = 21 days, acceptances = 63 days, but allow up to 3 months before querying.
Full guidelines: https://dailysciencefiction.com/submit/story/guidelines
Dark Matter Magazine is a SF market that aims to ‘bring you stories that explore the shadow side of reality.’ They welcome dark science fiction and darkly humorous science fiction stories (in a wide range of sub-genres) of 1000-5000 words, and pay 8c/ word on acceptance. Average response is 14 days, but allow 30 days before querying.
Full guidelines: https://darkmattermagazine.com/submission-guidelines
Escape Pod is an audio magazine that pays 8c/word for science fiction stories of 1,500-6,000 words. They are ‘fairly flexible on what counts as science’ and ‘want stories that center on science, technology, future projections, and/or alternate history, and how any or all of these things intersect with people’.
They are open to submissions annually for 9 months of the year, from Sep 1st – May 31st. Average response time: rejections = 12 days, acceptances = 86 days, but allow up to 3 months before querying.
Full guidelines: https://escapepod.org/guidelines/short-fiction
Fantasy Magazine is a market that pays 8c/word for 1500-7500 word fantasy and dark fantasy stories. ‘No subject should be considered off-limits, and we encourage writers to take chances with their fiction and push the envelope. If you’re not sure whether your story is fantasy (vs. horror or science fiction) go ahead and submit and let the editors decide.’
The magazine has a regular submissions window which runs from the 1st to the 7th of every month. Average response time: rejections = 36 days, acceptances = 63 days, but allow up to 3 months before querying.
Full guidelines: https://adamant.moksha.io/publication/fantasy/guidelines
Podcastle is an audio magazine, that pays 8c/word for fantasy stories of up to 6,000 words, published by the same publishers as Escape Pod. They’re open to ‘open to all sub-genres of fantasy, from magical realism to urban fantasy to slipstream to high fantasy, and everything in between’, They are open to submissions four months of the year, in March, June, September, and December. Average response time: rejections = 28 days, acceptances = 84 days, but allow up to 3 months before querying.
Full guidelines: https://podcastle.org/guidelines
Strange Horizons is a speculative fiction magazine that pays 10c/ word for stories up to 10,000 words (they prefer stories under 5000 words). They favor literary science fiction and fantasy stories, and are open to submissions once a week, between Monday 1600 UTC and Tuesday 1600 UTC.
Average response time: rejections = 51 days, acceptances = 66 days, but allow up to 3 months before querying.
Full guidelines: http://strangehorizons.com/submit/fiction-submission-guidelines
6 Common Publishing Myths
by Emily Harstone
As a writer who receives multiple emails each week about publishing, there are a number of myths about publishing that I encounter repeatedly. Different writers tell them to me as if they are fact. Some myths are ones I believed when I was starting out. Some contain truth. Many are entirely false.
Believing in one or more of these myths could seriously hurt your chances of having a book published by the right publisher.
You need a literary agent. Literary agents are great. Many authors rely on them. However, they are hard to find and they can’t always find a publisher for your book. I know several authors who got their book published with a good publisher after their agent failed to get that same book published.
In fact a lot of smaller publishers, including most established and respected ones, accept unsolicited manuscripts directly from authors. Not only that but most larger traditional publishers have at least one imprint or digital first branch that is open to unsolicited submissions.
When I wrote fiction I used to think it was about finding the right agent, now I know that I would submit my work to a few of my favorite publishers directly before trying to find an agent, even though my work would end up in the slush pile.
The second myth, big six or bust, is actually related to the first myth. Many believe that one of the big six publishers (which is now actually only five) need to accept their book in order for the book to sell well, so that the book can find its rightful place in brick and mortar bookstores and libraries.
This is not true. This is why knowing who your publisher’s distributor is, is so important. In fact many smaller publishers have the same distributors as the big five publishers.
Most publishing companies that have a good distributor are very upfront about it. If you go into a book store or a library regularly you will probably have a good idea of which publishers have good distribution, because you see them on the shelves.
An incomplete manuscript can be accepted is only a myth when it comes to fiction. Many nonfiction research based books are accepted before completion. When it comes to fiction, all successful legitimate publishers that I know of require that the manuscript is complete on submission. So even if they request just the first three chapters, the rest of your book should already be finished.
Having a legitimate publisher means that you don’t have to self- promote. This might have been true at one point, but it has not been true for a long time. Ten years ago I took a class with a New York Times bestselling author. He told me the best thing he did for his first book was independently hire a publicist, even though his book was published by a major (big five) publisher.
Most publishers that you can submit to directly want to know your marketing plan (or your author platform) before accepting your book for publication. They want to know that you are committed to promoting your work. That you know who your potential audience is and you are willing to connect with them. This does not mean the publisher is less legitimate or that they won’t help with marketing. They just need to know that you are serious about supporting your own book.
You have to pay a traditional publisher. If you have a traditional publisher, you do not pay them anything. They pay you. However, over the past few years many traditional and established publishing houses such Harlequin, Thomas Nelson, and Hay House have partnered with companies such as Authors Solutions Inc. to create self-publishing branches associated with these presses. Sometimes if the traditional branches of these presses have contests, the contests are even redirected to the self-publishing branch. This can confuse a lot of people.
For example in India, Penguin/Random House, one of the big five and one of the best known publishers in the world, runs a company called Partridge. However, Partridge is purely a vanity publisher. They charge all their writers.
It is no wonder that myth is becoming more substantial, not less.
Self-publishing is easy. There is truth to this myth. With a little time and minimal effort, any person can publish their book with Kindle Direct Publishing (KDP). However, that does not mean that anyone will buy or read that book. The majority of self-published books sell under 10 copies. Like traditional publishing, self-publishing requires a lot of work if you want to be successful, it is just a different kind of work.
Original article: https://www.authorspublish.com/6-common-publishing-myths/
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