Story submissions to magazines, anthologies, and competitions
Number of Submissions: 23
Submissions Declined: 15
Submissions Accepted: 1
Still under review: 7
Wheeeeeee! We’re only halfway through the year, and I’ve already bested last year’s results (which, let’s face it, were pretty abysmal anyway). I expect to slow down on submissions towards the end of this year, but only because I hope to be extra-focused on handling edits and the publishing process for Season Two of The Jack Hansard Series.
The Accepted story on this list is a flash triptych called ‘Denizens of the Deep Dark’. It will feature in the upcoming July issue of Copperfield Review Quarterly.
Why are my submissions going better this year?
Having been at this for a while now, I’ve built up a larger catalogue of short stories to send out. This means I can have several different pieces out at the same time, rather than waiting for just one to be assessed by a publisher before being able to submit it again. I’m also quite proud of some of my newer works (tangible evidence of improvement in my writing) and this confidence keeps me eager to edit and resubmit after every rejection.
I’ve also been helped by some very fast turnarounds from a few journals. While it can be disheartening to receive a rejection in less than 48 hours (24 hours, in one instance!) this does then immediately free up the story for submission elsewhere, as many of these publishers don’t allow you to submit to multiple markets at once.
An extra note is that I’ve broadened my horizons this year by making a return to poetry, which I’ve dabbled in on-and-off over the years. There are just two poems of which I’m proud enough to have included in the above submissions list, and one which I’ve entered into a humour competition that will announce winners in August. Let’s see how we go!
How are your submissions going?
Do you keep track of your submission stats like this? How’s this year shaping up compared to last year? Tell me all about it, I’d love to know! We can celebrate our wins and commiserate our rejections together. And if you’re yet to submit anything, then I’m here to shout you some friendly words of encouragement.
I talk a lot about writing submissions and lately have had questions from friends about where I find these paid writing gigs – and how they might find their own. So I thought I’d share the resources I use the most, for anyone who might also be wondering how to find a home for their short stories.
Below is a mix of blogs and lists, some of which are geared just toward speculative fiction (fantasy, sci-fi, horror, etc) and others that encompass all genres. Take a look, and hopefully you’ll find a market you want to submit to!
A regularly updated blog which keeps abreast of opportunities in the industry. As the name suggests, The Horror Tree focuses on posting submissions calls for horror-themed writing, but does include entries from other speculative fiction genres as well. This is where I first heard about The San Cicaro Experience, an urban fantasy anthology which I submitted to and was published in last year,
At The Horror Tree you’ll mainly find open calls from journals and anthologies, and then the occasional competition and novel/novella opportunity. You’ll find a fair number of lower-paying markets here (often less than 4 cents a word) and many publications that might only pay an honorarium (such as $10 or less for a short story). But pro markets do pop up as well: regular calls for Fantasy Magazine and Cosmic Roots & Eldritch Shores are good examples.
I do think you’re more likely to come across opportunities here that you might not find elsewhere, and the themes are so varied and interesting that you have a higher chance of stumbling across one that makes you go, “YES. I want to create something for THIS.” (Recently I’ve seen calls for ‘found footage’ horror stories, ’31st century monsters’, and ‘mad queens’.) This is what makes The Horror Tree my favourite site to scroll for submissions.
Writer’s HQ is both a source of free writing resources and an organiser of British writing retreats on the cheap. They maintain a continually updated list of competition opportunities each month, and have recently changed their policy to only include listings that make an effort to be financially accessible to writers. I’m a massive fan of this approach. My personal policy is to not submit to publications that require an entry fee (the aim here is to make money…) though I’m not averse to supporting journals which provide the option of a donation or have a tip jar feature.
The folks at Writer’s HQ seem to have accessibility built into their attitude, and they make this whole business of writing feel achievable with their pragmatism and sense of humour. They also host their own weekly Flash Face-off contest (like a community writing exercise) and will pay you for blog posts on the writing process (currently closed to submissions, but worth keeping an eye on if this is your thing).
This one is a single static list compiled by speculative fiction author S.J.Budd. Unlike the ones listed above, these are not submission calls with specific themes or deadlines and are not (to my knowledge) regularly updated. It’s simply a great list of journals which (usually) accept unsolicted submissions. Being a writer of speculative fiction myself, it’s refreshing to see a list which encompasses simply ‘dark’ fiction, as this can range far and wide across fantasy, sci-fi, horror and beyond. I find similar lists on a singular genre under the speculative umbrella can be a bit limited for my purposes.
Like any static list, you will find that some publishers on this page have sadly gone out of business, or that submission windows are currently closed. But the high number of listings and the amount of info included next to each one makes this a really great resource to quickly scan and identify markets that might be the right fit for your work.
Submittable is really a submissions manager – many of the journals in those lists above will require you to upload your work via Submittable. You’ll need to register an account for this (don’t worry, it’s free). It’s quite useful in that it saves (and automatically fills in) your personal details, and you can create a cover letter template to save you writing out nearly the same thing each time. It also tracks your submissions so you can see which stories are currently in progress/accepted/declined.
Under the Discover tab is where you can actively search for opportunities. I’m pleased that it lets me filter by deadline and ‘No Fees’, but I admit to finding the search function a bit lacking. I don’t come here to seek out new markets very often – mainly because there are just SO MANY submission calls that’s it’s difficult to narrow down exactly what you might be looking for.
This is because Submittable opportunities encompass a really wide range of subjects – from applying for research grants and job vacancies (I recently discovered and applied for a job at a small press here actually; sadly didn’t get through) to entering competitions, submitting short stories to journals, and even whole novels to presses. There are opportunities for writers, artists, animators, musicians, journalists, and more… Basically, if you know anyone looking for anything in the creative sphere, Submittable isn’t a bad place to start. Play around with the search tags and filters, and eventually you’ll find something that fits your niche.
This one feels a bit nostalgic for me because it’s the list I’ve used for the longest time, but have neglected of late. Prizemagic concerns itself solely with writing competitions. The website looks quite dated now, but the listings are still regularly refreshed. Each entry has a note to say when it was added or last edited, which is very useful when considering those evergreen contests which roll around every year.
It’s also made extra-fun by the occasional humorous remark from the website’s owner, Michael Shenton, and I enjoy reading the little success stories from people who have written in to share their competition triumphs. The listings themselves contain more info than you’d find elsewhere, as the author takes pains to provide some context for what each contest is looking for in your entry.
I should also mention that this list is much more UK-centric than the ones above – which is BRILLIANT for British writers like me, who too often are mentally converting dollar amounts in our heads when weighing up fees and prizes.
Let us know if you found somewhere to submit your story from this list! And if you want to recommend other places to look for new writing opportunities, please do mention them in the comments.
Story submissions to magazines, anthologies, and competitions.
Number of Submissions: 14
Submissions Declined: 12
Submissions Accepted: 0
Still under review: 2
Dang. I was hoping to beat my previous score, but unfortunately I made 3 fewer submissions in 2020 than in 2019. But, global pandemic aside, at least I have some good reasons for not being on top of my short story game – and some reasons to celebrate, as well! The biggest one being:
So on a purely personal level, it’s been a good year. My family has remained happy and healthy, and we know how lucky we’ve been throughout everything that’s happened over the last twelve months.
I’m going to try to give my blog a bit more attention in 2021. I’m not a natural blogger, so I tend to only post when I have newsworthy updates or some advice which I think others may find useful. I really enjoyed doing the Virtual Bookshop Tour, so I might aim for more pieces like that in the future.
If you want to receive more regular updates from me, you can subscribe to my newsletter here. I email once a fortnite with a short update about what I’m working on – sometimes with links to free books and recommendations from other indie authors. (Subscribers also receive a copy of Deus Ex Machina, another fun little story set in Hansard’s occult world.)
My goals for 2021? Keep submitting stories; publish Book 2; enjoy more time with my family.
I hope the new year has found you well, and that it brings us all a little more joy than the previous one. Remember to take care of yourself, and the people around you.
As we stand on the edge of another new year, it seems like a good time to look back on what I’ve managed to achieve in 2019. I’ve always found it helpful when other writers share their submission stats, so I’d like to do the same here.
2019 is the first year I’ve gone on the attack with submissions, so to speak. It’s fair to say I was lackadaisical about it up til last January: I wrote the odd short story and pined for somewhere it could live. No more.
No more staring wistfully at submission guidelines like a far-off lover. No more dreaming of having a story perfect enough to present as a token of my affection. Get it written. Get it sent. Then get it sent again. And again. And again.
So how many times did I get a story sent in 2019?
Number of Submissions: 17
Submissions Declined: 13
Submissions Accepted: 3
(No response received: 1)
Only 17? Dang, it felt like a lot more.
This comprised 11 shorts sent to various literary magazines, websites, and anthology open calls. Some were written specifically for the submission call; many were not; many were tweaked. They ranged from weird horror to dystopian sci fi and contemporary fantasy. In some cases I waited mere days to receive a rejection; in at least one it took six months. 3 out of 17 stories accepted doesn’t sound bad, though.
Oh, wait. Let’s look closer.
2 of those were stories accepted by Storymart, a little start-up that never actually got its feet off the ground. (Here’s the post I wrote about it back when I was deciding whether or not to submit to them.) Storymart’s creator ‘pressed pause’ on the project in July 2019 due to what sounds like a very stressful personal situation.
I hope that things improve for them, and that eventually they’ll be able to return to Storymart in the future. I remain incredibly grateful that they thought my work was good enough to become part of their catalogue, and also that for the story they rejected they provided some very helpful feedback on it – practically gold dust!
The other Accepted Story I only heard about a couple of weeks before Christmas. It’s early days yet so I can’t share details, but all being well, I’ll have my first short story ‘officially’ published in an anthology next year.
I’m so excited! I get a paycheck from it and everything.
(I know, I know, I shouldn’t still measure my worth as a writer by whether or not I’m being paid… but it feels good to say it, damn it!)
I know what I’m doing now, and pressing that ‘Send’ button is no longer such a monumental task. If you’ve been submitting this year, I hope things have improved for you too. And if not, we’ve all got next year to work on it.
Lately I’ve been pursuing publication for some of my short stories, and I feel I’m settling into a good rhythm of submissions and rejections. My current goal, at its barest bones, is to be paid professionally for a piece of my work. A lofty one, I know. Anyone familiar with writing submissions knows just how low the acceptance rate is (I rather like this author’s breakdown of their submission stats, for context) and I know I’ll be waiting a long time for that elusive payout.
However, I came across an intriguing opportunity for short story writers recently. It’s called Storymart.
Storymart is a reader subscription service aimed at lovers of short stories. The creators envision a Netflix-like model, where the reader’s monthly subscription gives them unlimited access to the site’s story content which is provided by writers all over the world. And the writers, rather importantly, get paid.
However, the platform is very new. In fact, it’s not yet open to reader subscriptions as they are still in the process of gathering content from writers. This makes sense – why ask readers to pay for content that doesn’t exist yet?
I’ve been mulling over the concept for a while now, and to help me figure out whether I want to jump onto this infant bandwagon I decided to lay out my thoughts in a simple Pros and Cons list…
Pro 1: Storymart offers curated content to readers.
The platform practices a submissions process which promises to narrow stories down to those which are of a high enough quality – I’ll give you their own definition of what that means:
Welcome words for writers tired of the bellowing halls of Wattpad-esque establishments, where readers and writers alike are drowning in angsty vampire/werewolf/shapeshifter romances, invariably set in a highschool and demonstrating varying grasps of the english language.
The website seems to promise short stories worthy of appearing in established literary publications like The New Yorker, and so they are actively encouraging writers to only send their best.
Con 1: Storymart does not edit any of the content.
This might be a Pro if you hate other people fiddling with your words. In any case, it’s worth noting that submissions are expected to be polished upon entry, and you shouldn’t expect any hand-holding from Storymart in that respect.
How harsh their submissions standards really are is something that remains to be seen – we probably won’t truly know until the site launches for readers. Obviously there’s also chance those submission standards might lower over time. Will they stick to their principles further down the line?
If you’re a writer who has submitted to Storymart, what’s your view on this? Did they accept everything you sent them; did they give feedback on rejections?
Pro 2: They accept previously published stories.
If you’re in the business of trying to submit to professional markets, then hopefully you understand why this excites me. The majority of submissions guidelines invariably prohibit writers from submitting previously published work, whether it was in print, online, another magazine, a competition, or on a personal blog. This is a barrier I find intensely frustrating: it seems as though once I put a story out there, anywhere, then that’s kind of it for the life of that work. This is what’s putting me off submitting to the huge number of magazines which offer no payment to authors – I’d love the chance to be seen by your readership, but if I do then I effectively give up the prospect of being paid professionally for that story.
(Side-note: I know ‘re-prints’ of published work are sometimes presented as a submission option at a vastly reduced pay rate – and I’d be interested to know how many writers have any success submitting under this category.)
Storymart offers a chance to put some of those one-offs back in front of paying readers. Say you have a competition entry that didn’t win, but was good enough to place on the shortlist and got published online. This might be a way to give new life to an already-proven story.
Similarly, once you’ve placed a story on Storymart, there are no restrictions on where/when you can publish again. A lot of publications will, for example, require that you don’t re-publish your story for a specific period (typically 3-6 months) after it has appeared on their own platform. This means you can publish a story on Storymart and then continue to submit it anywhere else you choose. Of course, this does immediately throw up the very obvious…
Con 2: Publishing on Storymart counts as publishing.
If you put a story on Storymart, it’ll run into the exact barrier I was bemoaning above. Other publications may reject it out of hand for already being published.
However, the site is still in Beta stage for the moment. So I suppose during this window where it isn’t open to readers, you still have the option of removing your work from Storymart if it does find a home elsewhere.
Another counter-argument for this is…
Pro 3: Storymart is a paying market.
It runs (or will run) on a pay-per-read model.
Readers will pay a monthly subscription of $4.99 to have unlimited access to as many short stories as they want to read. Every time a story is read, the author is paid $0.10 USD. Payments will apparently be made monthly, via Paypal.
Con 3: The author is only paid $0.10 per read.
That means a hundred people could read your story over a period of months… and you’d only earn $10 for it.
But wait, let’s compare this to other industry prices…
Based on various bits of advice and my current experience hunting suitable markets, my perception of a ‘professional’ short story rate is around $0.06 per word. However, realistically there are also a very large number of publications offering much less (eg. some that offer around $0.02 per word; some that only offer a flat fee in the $20-50 range per story) and of course an abundance of completely unpaid opportunities that nevertheless offer exposure to their already-established audience.
Let’s go on the lower end and consider a 5000 word story which is paid $0.02 per word = a flat fee of $100 for that story. With Storymart’s model, you would need 1000 people to read your story to earn $100 from it.
I suppose the question is… are you confident your story will get at least 1000 reads?
This is where it gets interesting. Instead of receiving a one-off payment, there’s the potential to accumulate money over time… a very LONG time. Remember, if you only get ten reads a month, you’d need to wait 8-9 years to earn that $100.
At the moment we have pretty much no data to look at to determine what a realistic number of reads per month could be at Storymart. Could be in the hundreds – a hundred reads per month would take less than a year to earn the $100. Or it could be in the tens, and the payoff becomes minimal.
At least the principle is simple: the more readers you have, the more you earn. This will then probably be down to the individual author to market the shit out of their work to gain those consistent reads. And in order to get those reads you need…
Pro 4: A captive audience.
This, theoretically, is the big draw for writers at Storymart. Readers subscribe because they want to read short stories. They are, in theory, readers as opposed to other writers – which is a flaw I think is endemic of many fiction platforms (Wattpad, I’m looking at you).
I hold the apparently unpopular belief in wider publishing that short stories are an extremely under-rated and oft-forgotten (despite being popular) genre of fiction. I can’t fault the idea of pushing new ways to make short stories more accessible, and a platform dedicated to them sounds somewhat ideal.
Con 4: Currently, a small audience.
Here’s something that only time will illuminate further. At present, Storymart is still in Beta stage. That means it is actively seeking story submissions from writers, but is not yet taking subscriptions from readers. As I said, I’m a big believer that short stories are a vastly underestimated market, and there definitely is a passionate audience out there for them. But, will that audience choose to pay a monthly subscription, when there’s so much short fiction available for free elsewhere?
One response, I suppose, is that readers do already pay for subscriptions – to all those short story magazines I’ve been submitting to. That’s what the professional paying market for short story writers is.
Pro 5: The chance to grow alongside a growing platform.
Wouldn’t it be great to discover the next big thing while it’s still shiny and new and has opportunities ripe for the taking? Before the big boys muscle in and the playground gets swamped by thousands of other voices all peddling their own fantastical narratives?
At this early stage, while the audience might be small, the pool of writers is as well. Would that, potentially, make it easier to be discovered? To snap up the interest of new readers as the platform grows? Getting in early could make all the difference to growing a presence and a following, and if Storymart grows and grows and grows… well, it’s an exciting thought. But, therein lies the risk.
Con 5: The whole thing could flop.
Storymart isn’t quite on its feet just yet. Readers could flock to it in their thousands… or they could give it a passing glance and shrug, and go back to their tried-and-tested tenders of online fiction instead. There’s no data to look into yet, so your guess is as good as mine as to whether or not Storymart will still be here in a couple of years’ time.
But, even if it isn’t… what have I got to lose?
This is the thought I keep coming back to.
The main ‘Con’ which seems to bother me is that publishing a story with Storymart might restrict any future opportunities for that piece of work. But if that story isn’t being accepted anywhere else anyway… and let’s face it, the odds are massively stacked against us in submissions, simply due to the sheer mumber of other stories we’re competing with… well then, what’s holding me back but myself?
I’m not convinced that Storymart won’t have the same problem as other publication routes further down the line. If they do grow successful they’ll probably find their own inboxes at breaking point eventually, despite their best intentions to give submissions the quickest turnaround possible. More reason to jump in early, perhaps?
I suspect I’m overly cautious when it comes to making these kinds of decisions. I’ve doubtless missed opportunities just for fear that it might not be The Right One.
Wouldn’t it be better to earn a few dollars from a story – and to know that it’s actually being read and enjoyed by people – than just letting it languish in the ‘Submissions’ folder on my laptop?
I think what I’m saying is that I’m going to jump in. Because, really, what have I got to lose?
What are your thoughts on the Storymart concept? Just another online magazine subscription, or the Netflix-inspired service they aspire to? Are there better alternatives already out there?
If you’ve submitted stories to Storymart, I’d love to hear from you! Why did you choose them? What’s your experience been like so far?
If you want to read more about Storymart, their FAQ section for writers is here.