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That said, here are our guidelines for when we re-open:

All submissions should adhere to “standard formatting.” What that means to us is:

  • 8.5″ x 11″ page size (we’re a US-based press)
  • 1-inch margins on all sides
  • left-justification (ragged right margin)
  • 12-point Courier typeface, double-spaced
  • use underlines to indicate italics
  • a right-justified header on all but the first page
  • that header looks like this: Last Name / Title Word / #
  • author’s name and contact info on the first page
  • author’s bylineoand story title centered below that

Keep in mind that while the particulars of submission guidelines may at times seem arbitrary, they also serve as a useful shibboleth. Authors who can’t be bothered to follow instructions are likely to be a source of other problems, regardless of the quality of their fiction. Guidelines allow editors to eliminate such submissions very quickly indeed.

All submissions are by email only. Attach the story to your email as an RTF file (not a TXT, DOC, or DOCX file; if you don’t think this matters, see the previous point about shibboleths and reconsider).

Please include your full contact information in the body of your email, as well as a short list of recent credits. Other “cover letter” style goodies are neither requested nor required. Additional guidelines are detailed below, depending on which of our project lines you’re submitting to.

What rights do you buy?

We buy first world print rights, for publication in the English language anywhere in the world. We ask for no competing publication (i.e., you can’t sell the same story somewhere else) for eighteen months, with exceptions made if your work is solicited for a “best of” anthology.

We also buy ebook rights, with that same eighteen month exclusivity. Our ebooks are released without DRM, and in addition to being sold in the usual places, we will email a complimentary ebook to anyone who can demonstrate they’ve already purchased the physical book.

All other rights remain with the author.


What do you pay?

Most of our projects pay a pro-rata share of royalties after initial production costs have been covered. This allows the press to limit its financial exposure, increasing the likelihood that we’ll be around to publish other titles down the road. If a book does well, the press and the authors involved both benefit. If a book tanks. We do not pay advances.