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Publishing for Fun and Profit

So there was a list going around tumblr for a while that made it to my dash of literary journals that accept open submissions (and will pay!), but upon inspection about half of them were closed indefinitely, and I found quite a few other places that looked interesting through further research, so I wanted to post my own list. 

I tried to focus on things that paid professional grade (at least 6 cents per word), were friendly to speculative fiction, and specifically encouraged diversity and writing about marginalized groups.

(Please note that as of right now I have never submitted or been published with any of these, so if anyone has experience with them, good or bad, please feel free to message or reblog this with your experiences.)

Speculative Fiction

  • Strange Horizons — Speculative fiction (broadly defined) with an emphasis on diversity, unusual styles, and stories that address politics in nuanced ways. 8c per word. Up to 10,000 words, under 5,000 preferred. Responds within 40 days. LGBT+ positive.
  • Fantasy & Science Fiction Magazine — Sci-fi, fantasy, horror, etc. 7-12c per word. Up to 25,000 words. No response times listed.
  • Asimov’s Science Fiction — Primarily sci-fi but accepts fantasy and surreal fiction, but no high fantasy/sword and sorcery. Prefers writing that is character driven. 8-10c per word. 1,000-20,000 words. Responds in about five weeks.
  • Evil Girlfriend Media — Horror and urban fantasy centered on female empowerment and defying gender stereotypes. $100 flat payment. 4,000-7,000 words. No response times given. LGBT+ friendly.
  • Beneath Ceaseless Skies — Fantasy with a focus on secondary worlds and characters. 6c per word. Up to 10,000 words. Average response time 2-4 weeks.
  • Fantastic Stories — Speculative fiction with an emphasis on diversity and literary style. 15c per word. Up to 3,000 words. Responds within two weeks. LGBT+ positive.
  • Fiction Vortex — Serialized fantasy and speculative fiction. $300 for featured stories, $50 otherwise. 3,500 words or less. No response times given.
  • Shimmer — Speculative fiction with an emphasis on diversity, strong plots, vivid characters, and beautiful writing. 5c per word. 7,500 words or less (will consider longer words with query letter). Usually responds within two weeks. LGBT+ positive.
  • Clarkesworld Magazine — Sci-fi, fantasy, and other speculative fiction. 10c per word up to 5,000 words, 8c per word after. 1,000-16,000 words. Responds within days usually, gives a tracking number.
  • Apex Magazine — Speculative fiction of all kinds. 6c per word, +1c per word for podcast stories. Up to 7,500 words, all submissions over will be auto-rejected. Responds within 30 days.
  • Heliotrope Magazine — Speculative fiction of all kinds. 10c per word. Up to 5,000 words. Responds within 30 days.
  • Lightspeed Magazine — Speculative fiction of all kinds, with creativity and originality in terms of style and format encouraged. 8c per word. 1,500-10,000 words, under 5,000 preferred. LGBT+ positive. Submissions temporarily closed for their main magazine but is accepting for their People of Color Destroy Science Fiction special.

General Fiction

  • The Sun Magazine — General fiction, likes personal writing or writing of a cultural/political significance. $300-$1500 flat payment  and a one year subscription to the magazine for fiction (also accepts essays and poetry). No minimum or maximum lengths but over 7,000 words discouraged. Responds in 3-6 months. Physical submissions only.
  • One Story — Any and all varieties of fiction, “unique and interesting” stories encouraged. $500 payment plus 25 contributor copies. 3,000-8,000 words. Usually responds in 2-3 months.
  • Camera Obscura — General fiction. $1000 for featured story, $50 for “Bridge the Gap” award, no payment for other contributors. 250-8,000 words. Response time vary, running just over two months as of now.

Flash Fiction 

  • Daily Science Fiction — Speculative flash fiction (including sci-fi, fantasy, slipstream, etc.). 8c per word. Up to 1,500 words, but shorter stories given priority. Response times not listed.
  • Vestral Review — General flash fiction. 3-10c per word depending on length to a max of $25. Up to 500 words. Response within four months.
  • Flash Fiction Online — General flash fiction. $60 flat payment. 500-1,000 words. Response times not listed.

Novels/Novella

  • Riptide Publishing — Any LGBTQ manuscripts between 15,000 and 150,000 words. Currently especially interested in lesbian romances, trans stories, asexual/aromantic stories, romances with a happy ending, and genre fiction such as urban fantasy. Also has a YA branch.  LGBT+ positive.
  • Crimson Romance — Romance stories of all kinds, currently seeking LGBT+ stories with a focus on emotional connections and relationships, especially m/m romance. Novel (55,000-90,000 words) or novella (20,000-50,000 words) length.  LGBT+ positive.

Kindle Direct Publishing 

  • Kindle Direct Publishing — Allows you to set your own prices, create your own cover art, and make royalties off of each sell. Any and all genres are welcome and if you’re prolific and smart about how you’re publishing you can make pretty good money.
  • General Guide to Kindle Publishing — Gives a good rundown of the publishing process on Kindle.
  • 101 Guide to Kindle Erotica — Great guide with lots of resources about how to make money publishing erotica on Kindle.   

Publishing Comics/Graphic Novels

  • Here is a list of potential comic companies and what kind of open submissions they accept.  
  • Here is a list of literary agents who accept graphic novels. 
how-to-write-a-book-now.com
How to Write a Synopsis of Your Novel
by Glen C. Strathy

To sell your novel, you may need to know how to write a synopsis, even if you are a pantser-type novelist who can write a whole novel without making an outline first. Agents and publishers will often ask for a synopsis along with sample chapters before they request a complete manuscript.

The biggest mistake most people make when they try to write a synopsis for the first time is to create a bare bones plot summary, along the lines of “First this happens, then this happens, then this happens…” Synopses written this way tend to be so dry and boring even the author would have trouble understanding why anyone would want to read the full novel.

Imagine, for example, if a sports writer described a hockey game as “First one team scored. Then the other team scored. Then the first team scored twice. Then the game ended.” Pretty boring, yes?

- See more at: http://www.how-to-write-a-book-now.com/how-to-write-a-synopsis.html#sthash.luoazyx1.dpuf

Read More →

marissameyer.com
6 Steps for Writing a Book Synopsis
by Marissa Meyer

Confession: I enjoy writing query letters. I know that most writers loathe them, but I always thought the query letter was kind of a fun challenge. The challenge of trying to distill your novel down to its essence, giving just enough information to draw the agent or editor in to the story, but without giving away so much that the manuscript loses all sense of mystery.

However, I feel quite differently about the second-most dreaded item of many submission packages: the Synopsis.

The book synopsis is that three- or four-page snapshot of the book, that essentially tells your story from beginning to end, while seemingly stripping it of any intrigue, humor, or emotional resonance. To me, writing a synopsis that could leave a reader still wanting to read the actual manuscript always seemed like a much bigger challenge than the query letter.

Read More →

There are amazingly wonderful people in all walks of life; some familiar to us and others not. Stretch yourself and really get to know people. People are in many ways one of our greatest treasures.
—  Bryant H. McGill 

I can’t tell if Clary, Jace, Isabelle, Simon, Maia, Alec, and Magnus were reduced to feisty, arrogant, sexy, nerd, irrelevant, gay, and sparkly by the fans and so that’s how CC continued to write them, or if CC wrote them that way and fans just kept it going

You were the cigarette girl
asking me for a whirl
outside of the skating rink.
You wore a cigarette shawl,
and you looked like a doll,
cos’ your eyes, they never did blink.
You did a cigarette twirl,
and let your smoke unfurl,
I doubted your lungs were pink.
You had a cigarette drawl,
you never answered your calls,
but for you, my heart never did shrink.
—  “Cigarette Girl, or, Comedic Relief” - Alec Prevett (Taken from Juvenile: Volume Three)
The feeling I have when I want to match a piece of fine prose in length, topic, style and tone? That is envy. I try to distract myself with the following lie: “I have been inspired by reading a piece of fine prose, inspired to write something of my own in order to honor that piece of fine prose.” It is humbling that I still seem, at my worst, to feel the nonspecific raging envy I felt when I was young, before I’d ever done anything, before I’d ever tried anything.
— 

Green-Eyed Verbs - The New York Times

Sarah Manguso on writerly envy.

We Need A Better System of Finding the Right Book

Let’s face it, finding the right book to read can be tricky. You want something with pirates, but don’t really care if it is Historical or Fantasy or even something in space. You want something about the sibling bond between triplets. You want something that will make you laugh. But how do you find it? You could troll the internet reading reviews and risking spoilers, you could read cover blurbs and hope it’ll be enough, you could ask for recommendations from friends, you could do a lot of things. But in the end there is no one core system of just describing the traits of a book beyond the basic genre without risking spoilers or bias.

You know what does have that core system of describing traits beyond genre? Fan Fiction. Take a look at any fic on Archive of Our Own and you’ll see a myriad of tags for everything from genre to setting to the feelings the fic is meant to evoke. A one chapter story could have ten or more tags about what it contains, things like “Angst,” “Hurt/Comfort,” “Murder,” “Sibling Bond,” “Established Relationship,” “Warfare,” “PTSD,” and more. It doesn’t spoil the story, but lets you find exactly what you’re looking for down to even small details. Not only that, but it lets you know what you’re getting into. Not comfortable reading a story involving suicide? You’ll know right up front that it’s going to be in that story you can make the informed decision to find something better suited to your tastes. 

Why can’t we bring the same system to published books? It alleviates a lot of problems you see talked about in the publishing industry, in schools, and among readers. People can find exactly what they’re looking for which would bring more attention to diverse books, books that aren’t getting as much promotion for whatever reason, etc. Parents, teachers, and students can make informed decisions about what they’re reading and what can best support their curriculum. So why not have the system in place?

Thing is, we already sort of do thanks to the Library of Congress. Take a look at that page at the beginning of the book you never pay attention to, the one with all the publisher information and disclaimers and all that. A lot of books, though not all, with have information about how they’re cataloged in the Library of Congress. It’ll look a bit like this, from Silence for the Dead by Simone St. James:

See that little list below the ISBN? Those are the things used to catalog the book in the Library of Congress. You know what that looks a lot like? Tags. If this was a fan fiction it would be listed more like: “World War 1, World War, Veterans, Fiction, Medical Care, Nurses” but it is essentially the exact same thing. Some books have more than others, like Medicis Daughter by Sophie Perinot:

That is a PLETHORA of information about the book right there, and none of it spoilery or biased. It is the hard facts of the book laid out right inside the cover. Maggie Stiefvater’s The Dream Thieves is another example:

It’s book two of the series and these “tags” still aren’t spoilery. 

If we could take this system and expand it to include more tags, to include more books, and put it all together in one central place it would create a FANTASTICALLY useful resource for everyone involved in books from the writing to the publishing to the reading. 

Coming Out II

I NEVER ASKED FOR TITS,

OR HIPS,

OR THIGHS THAT CRASH TOGETHER WHEN I WALK.

IN FACT, I NEVER ASKED TO BE BORN.

I NEVER ASKED FOR ANY OF THIS.

I AM NOT HANNAH OR HANA, IN FACT, I NEVER WAS AND I NEVER WILL BE.

I WILL SHED MY SKIN AND BE REBORN,

DESPITE MY TITS,

DESPITE MY HIPS,

DESPITE MY THIGHS THAT CRASH TOGETHER WHEN I WALK.

MY NAME IS THEODORE AND I WILL BE COMFORTABLE IN MY BODY.

MY NAME IS THEODORE AND I WILL BE ABLE TO LIVE MY LIFE WITHOUT PUNISHING MYSELF FOR WHAT I LOOK LIKE.

MY NAME IS THEODORE AND I WILL BE OKAY.

I didn’t grow up in a gender box, but I always knew, though I never spoke.

I didn’t grow up in a gender box, but when I wanted to wear boys clothes AGE SIX I ASKED MY MOM TO TAKE ME TO THE BOYS’ SECTION AGE SIX I ACCIDENTALLY WENT INTO THE MEN’S BATHROOM AND WHEN I REALIZED WHAT I’D DONE I PRETENDED I HAD MY LITTLE BROTHER WITH ME AND I WOULD HOLD HIS IMAGINARY LITTLE HAND (even though I was really the imaginary little brother and the hand I was holding was my own).

“But you were raised gender neutral, how would you know?” Because I was indoctrinated to believe that gender is fluid and yet I was told by society that it was NOT.

You know how, when you’re really little, other little kids will come up to you and ask you if you’re a boy or a girl, because gender is a beautiful and new concept to them and nobody’s developed enough for them to be able to tell yet?

My answer was always “I don’t know”.

Eventually, I just stopped answering. I’d scoff as if it should’ve been obvious. Short curly hair, overalls, and a dinosaur t-shirt… oh wait.

My name is Theodore, and I’m a boy. I’m short and chubby and, yeah, I’ve got tits and an ass and every month I bleed from my vagina. Dude, man-periods are real.

My name is Theodore, and I’m a boy, despite everything.

onlyabitashamed.livejournal.com
Speaking in Ink and Petals
Jinki lives above his tattoo parlor in a measly studio apartment. Next to his parlor is a boutique owned by Kibum, who lives in the apartment across Jinki's. Their apartments are so close that Kibum could lean over and knock on the window above Jinki's kitchen sink (if you can even call what he…

A/N: I did it. I wrote a thing. This took me months to finish. 

Title: Speaking in Ink and Petals

Genre: Fluff

Rating: PG

Pairing: Onho (side Jongkey and Taekai)

Word Count: 7, 300

Summary: Soulmate AU mixed with tattoo artist falls for flower shoppe owner trope. The flowers bloom around the name engraved on his collarbone. It’s vibrant and incessant in taking their place in Jinki’s life.

You’ve heard the old maxim “sex sells.” But when it comes to submitting your poems, stories, and essays to literary journals, it’s possible that your sex scenes might just be too much of a good thing!

Let’s look at the varying levels of explicitness that can be found in lit mag submissions, as well as the general reactions of readers. But keep in mind that every literary journal is unique, and no two lit mag editors will have the same policies (or proclivities) when it comes to sex scenes in literature.

Click the image to read on!