Thursday, October 17, 2024

"Love and Russian Literature" by Somerset Maugham

This story, told wonderfully in Somerset Maugham's dry, satirical style, is based on Maugham's own experience as a secret agent for Britain, as indeed are all the stories in his book Ashenden: Or the Secret Agent, published in 1929. 

The character of Anastasia Alexandrovna Leonidov was based on Alexandra Kropotkin, daughter of the famous Russian anarchist, Pyotr Kropotkin. Maugham knew her in London, and even had a brief affair with her.

So, the question remains, other than changing the names, how much in this story is actually fiction? Anything?

Photo: Afisha, London/Midjourney

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"Love and Russian Literature" from Ashenden: Or the Secret Agent, by Somerset Maugham

When Ashenden found himself in his bedroom at the hotel and, for the first time for it seemed an age, alone, he sat down and looked about him. He had not the energy to start immediately to unpack. How many of these hotel bedrooms had he known since the beginning of the war, grand or shabby, in one place and one land after another! It seemed to him that he had been living in his luggage for as long as he could remember. He was weary. He asked himself how he was going to set about the work that he had been sent to do. He felt lost in the immensity of Russia and very solitary. He had protested when he was chosen for this mission, it looked too large an order, but his protests were ignored. He was chosen not because those in authority thought him particularly suited for the job, but because there was no one to be found who was more suited. There was a knock at the door and Ashenden, pleased to make use of the few words of the language he knew, called out in Russian. The door was opened. He sprang to his feet.

"Come in, come in," he cried. "I'm awfully glad to see you."

Three men entered. He knew them by sight, since they had travelled on the same boat with him from San Francisco to Yokohama, but following their instructions no communications had passed between them and Ashenden. They were Czechs, exiled from their country for their revolutionary activity and long settled in America, who had been sent over to Russia to help Ashenden in his mission and put him in touch with Professor Z., whose authority over the Czechs in Russia was absolute. Their chief was a certain Dr. Egon Orth, a tall thin man, with a little grey head; he was minister to some church in the Middle West and a doctor of divinity; but he had abandoned his cure to work for the liberation of his country. Ashenden had the impression that he was an intelligent fellow who would not put too fine a point on matters of conscience. A parson with a fixed idea has this advantage over common men that he can persuade himself of the Almighty's approval for almost any goings on. Dr. Orth had a merry twinkle in his eye and a dry humour.

Ashenden had had two secret interviews with him in Yokohama and had learnt that Professor Z., though eager to free his country from the Austrian rule and since he knew that this could only come about by the downfall of the Central Powers with the allies body and soul, yet had scruples; he would not do things that outraged his conscience, all must be straightforward and aboveboard, and so some things that it was necessary to do had to be done without his knowledge. His influence was so great that his wishes could not be disregarded, but on occasion it was felt better not to let him know too much of what was going on.

Dr. Orth had arrived in Petrograd a week before Ashenden and now put before him what he had learned of the situation. It seemed to Ashenden that it was critical and if anything was to be done it must be done quickly. The army was dissatisfied and mutinous, the Government under the weak Kerensky was tottering and held power only because no one else had the courage to seize it, famine was staring the country in the face and already the possibility had to be considered that the Germans would march on Petrograd. The ambassadors of Great Britain and the United States had been apprised of Ashenden's coming, but his mission was secret even from them, and there were particular reasons why he could demand no assistance from them. He arranged with Dr. Orth to make an appointment with Professor Z. so that he could learn his views and explain to him that he had the financial means to support any scheme that seemed likely to prevent the catastrophe that the Allied governments foresaw of Russia's making a separate peace. But he had to get in touch with influential persons in all classes. Mr. Harrington, with his business proposition and his letters to Ministers of State, would be thrown in contact with members of the Government and Mr. Harrington wanted an interpreter. Dr. Orth spoke Russian almost as well as his own language and it struck Ashenden that he would be admirably suited to the post. He explained the circumstances to him and it was arranged that while Ashenden and Mr. Harrington were at luncheon Dr. Orth should come in, greeting Ashenden as though he had not seen him before, and be introduced to Mr. Harrington; then Ashenden, guiding the conversation, would suggest to Mr. Harrington that the heavens had sent in Dr. Orth the ideal man for his purpose.

But there was another person on whom Ashenden had fixed as possibly useful to him and now he said:

"Have you ever heard of a woman called Anastasia Alexandrovna Leonidov? She's the daughter of Alexander Denisiev."

"I know all about him of course."

"I have reason to believe she's in Petrograd. Will you find out where she lives and what she's doing?"

"Certainly."

Dr. Orth spoke in Czech to one of the two men who accompanied him. They were sharp-looking fellows, both of them, one was tall and fair and the other was short and dark, but they were younger than Dr. Orth and Ashenden understood that they were there to do as he bade them. The man nodded, got up, shook hands with Ashenden and went out.

"You shall have all the information possible this afternoon."

"Well, I think there's nothing more we can do for the present," said Ashenden. "To tell you the truth I haven't had a bath for eleven days and I badly want one."

Ashenden had never quite made up his mind whether the pleasure of reflection was better pursued in a railway carriage or in a bath. So far as the act of invention was concerned he was inclined to prefer a train that went smoothly and not too fast, and many of his best ideas had come to him when he was thus traversing the plains of France; but for the delight of reminiscence or the entertainment of embroidery upon a theme already in his head he had no doubt that nothing could compare with a hot bath. He considered now, wallowing in soapy water like a water-buffalo in a muddy pond, the grim pleasantry of his relations with Anastasia Alexandrovna Leonidov.

In these stories no more than the barest suggestion has been made that Ashenden was capable on occasions of the passion ironically called tender. The specialists in this matter, those charming creatures who make a business of what philosophers know is but a diversion, assert that writers, painters and musicians, all in short who are connected with the arts, in the relation of love cut no very conspicuous figure. There is much cry but little wool. They rave or sigh, make phrases and strike many a romantic attitude, but in the end, loving art or themselves (which with them is one and the same thing) better than the object of their emotion offer a shadow when the said object, with the practical common sense of the sex, demands a substance. It may be so and this may be the reason (never before suggested) why women in their souls look upon art with such a virulent hatred. Be this as it may, Ashenden in the last twenty years had felt his heart go pit-a-pat because of one charming person after another. He had had a good deal of fun and had paid for it with a great deal of misery, but even when suffering most acutely from the pangs of unrequited love he had been able to say to himself, albeit with a wry face, after all, it's grist to the mill.

Anastasia Alexandrovna Leonidov was the daughter of a revolutionary who had escaped from Siberia after being sentenced to penal servitude for life and had settled in England. He was an able man and had supported himself for thirty years by the activity of a restless pen and had even made himself a distinguished position in English letters. When Anastasia Alexandrovna reached a suitable age she married Vladimir Semenovich Leonidov, also an exile from his native country, and it was after she had been married to him for some years that Ashenden made her acquaintance. It was at the time when Europe discovered Russia. Everyone was reading the Russian novelists, the Russian dancers captivated the civilized world, and the Russian composers set shivering the sensibility of persons who were beginning to want a change from Wagner. Russian art seized upon Europe with the virulence of an epidemic of influenza. New phrases became the fashion, new colours, new emotions, and the highbrows described themselves without a moment's hesitation as members of the intelligentsia. It was a difficult word to spell but an easy one to say. Ashenden fell like the rest, changed the cushions of his sitting-room, hung an eikon on the wall, read Chekhov and went to the ballet.

Anastasia Alexandrovna was by birth, circumstances and education very much a member of the intelligentsia. She lived with her husband in a tiny house near Regent's Park and here all the literary folk in London might gaze with humble reverence at pale-faced bearded giants who leaned against the wall like caryatids taking a day off; they were revolutionaries to a man and it was a miracle that they were not in the mines of Siberia. Women of letters tremulously put their lips to a glass of vodka. If you were lucky and greatly favoured you might shake hands there with Diaghileff and now and again, like a peach-blossom wafted by the breeze, Pavlova herself hovered in and out. At this time Ashenden's success had not been so great as to affront the highbrows; he had very distinctly been one of them in his youth, and though some already looked askance, others (optimistic creatures with a faith in human nature) still had hopes of him. Anastasia Alexandrovna told him to his face that he was a member of the intelligentsia. Ashenden was quite ready to believe it. He was in a state when he was ready to believe anything. He was thrilled and excited. It seemed to him that at last he was about to capture that illusive spirit of romance that he had so long been chasing. Anastasia Alexandrovna had fine eyes, and a good, though for these days, too voluptuous figure, high cheek bones and a snub nose (this was very Tartar), a wide mouth full of large square teeth, and a pale skin. She dressed somewhat flamboyantly. In her dark melancholy eyes Ashenden saw the boundless steppes of Russia, and the Kremlin with its pealing bells, and the solemn ceremonies of Easter at St. Isaac's, and forests of silver beeches and the Nevsky Prospekt; it was astonishing how much he saw in her eyes. They were round and shining and slightly protuberant like those of a Pekinese. They talked together of Alyosha in the Brothers Karamazov, of Natasha in War and Peace, of Anna Karenina and of Fathers and Sons.

Ashenden soon discovered that her husband was quite unworthy of her and presently learned that she shared his opinion. Vladimir Semenovich was a little man with a large, long head that looked as though it had been pulled like a piece of liquorice, and he had a great shock of unruly Russian hair. He was a gentle, unobtrusive creature and it was hard to believe that the Czarist government had really feared his revolutionary activities. He taught Russian and wrote for papers in Moscow. He was amiable and obliging. He needed these qualities, for Anastasia Alexandrovna was a woman of character; when she had a toothache Vladimir Semenovich suffered the agonies of the damned and when her heart was wrung by the suffering of her unhappy country Vladimir Semenovich might well have wished he had never been born. Ashenden could not help admitting that he was a poor thing, but he was so harmless that he conceived quite a liking for him, and when in due course he had disclosed his passion to Anastasia Alexandrovna and to his joy found it was returned he was puzzled to know what to do about Vladimir Semenovich. Neither Anastasia Alexandrovna nor he felt that they could live another minute out of one another's pockets, and Ashenden feared that, with her revolutionary views and all that, she would never consent to marry him; but somewhat to his surprise, and very much to his relief, she accepted the suggestion with alacrity.

"Would Vladimir Semenovich let himself be divorced, do you think?" he asked, as he sat on the sofa, leaning against cushions the colour of which reminded him of raw meat just gone bad, and held her hand.

"Vladimir adores me," she answered. "It'll break his heart."

"He's a nice fellow, I shouldn't like him to be very unhappy. I hope he'll get over it."

"He'll never get over it. That is the Russian spirit. I know that when I leave him he'll feel that he has lost everything that made life worth living for him. I've never known anyone so wrapped up in a woman as he is in me. But of course he wouldn't want to stand in the way of my happiness. He's far too great for that. He'll see that when it's a question of my own self-development I haven't the right to hesitate. Vladimir will give me my freedom without question."

At that time the divorce law in England was even more complicated and absurd than it is now and in case she was not acquainted with its peculiarities Ashenden explained to Anastasia Alexandrovna the difficulties of the case. She put her hand gently on his.

"Vladimir would never expose me to the vulgar notoriety of the divorce court. When I tell him that I have decided to marry you he will commit suicide."

"That would be terrible," said Ashenden.

He was startled, but thrilled. It was really very much like a Russian novel and he saw the moving and terrible pages, pages and pages, in which Dostoievsky would have described the situation. He knew the lacerations his characters would have suffered, the broken bottles of champagne, the visits to the gypsies, the vodka, the swoonings, the catalepsy and the long, long speeches everyone would have made. It was all very dreadful and wonderful and shattering.

"It would make us horribly unhappy," said Anastasia Alexandrovna, "but I don't know what else he could do. I couldn't ask him to live without me. He would be like a ship without a rudder or a car without a carburettor. I know Vladimir so well. He will commit suicide."

"How?" asked Ashenden, who had the realist's passion for the exact detail.

"He will blow his brains out."

Ashenden remembered Rosmerholm. In his day he had been an ardent Ibsenite and had even flirted with the notion of learning Norwegian so that he might, by reading the master in the original, get at the secret essence of his thought. He had once seen Ibsen in the flesh drink a glass of Munich beer.

"But do you think we could ever pass another easy hour if we had the death of that man on our conscience?" he asked. "I have a feeling that he would always be between us."

"I know we shall suffer, we shall suffer dreadfully," said Anastasia Alexandrovna, "but how can we help it? Life is like that. We must think of Vladimir. There is his happiness to be considered too. He will prefer to commit suicide."

She turned her face away and Ashenden saw that the heavy tears were coming down her cheeks. He was much moved. For he had a soft heart and it was dreadful to think of poor Vladimir lying there with a bullet in his brain.

These Russians, what fun they have!

But when Anastasia Alexandrovna had mastered her emotion she turned to him gravely. She looked at him with her humid, round and slightly protuberant eyes.

"We must be quite sure that we're doing the right thing," she said. "I should never forgive myself if I'd allowed Vladimir to commit suicide and then found I'd made a mistake. I think we ought to make sure that we really love one another."

"But don't you know?" exclaimed Ashenden in a low, tense voice. "I know."

"Let's go over to Paris for a week and see how we get on. Then we shall know."

Ashenden was a trifle conventional and the suggestion took him by surprise. But only for a moment. Anastasia was wonderful. She was very quick and she saw the hesitation that for an instant troubled him.

"Surely you have no bourgeois prejudices?" she said.

"Of course not," he assured her hurriedly, for he would much sooner have been thought knavish than bourgeois, "I think it's a splendid idea."

"Why should a woman hazard her whole life on a throw? It's impossible to know what a man is really like till you've lived with him. It's only fair to give her the opportunity to change her mind before it's too late."

"Quite so," said Ashenden.

Anastasia Alexandrovna was not a woman to let the grass grow under her feet and so, having made their arrangements forthwith, on the following Saturday they started for Paris.

"I shall not tell Vladimir that I am going with you," she said. "It would only distress him."

"It would be a pity to do that," said Ashenden.

"And if at the end of the week I come to the conclusion that we've made a mistake he need never know anything about it."

"Quite so," said Ashenden.

They met at Victoria station.

"What class have you got?" she asked him.

"First."

"I'm glad of that. Father and Vladimir travel third on account of their principles, but I always feel sick on a train and I like to be able to lean my head on somebody's shoulder. It's easier in a first-class carriage."

When the train started Anastasia Alexandrovna said she felt dizzy, so she took off her hat and leaned her head on Ashenden's shoulder. He put his arm round her waist.

"Keep quite still, won't you?" she said.

When they got on the boat she went down to the ladies' cabin, and at Calais was able to eat a very hearty meal, but when they got into the train she took off her hat again and rested her head on Ashenden's shoulder. He thought he would like to read and took up a book.

"Do you mind not reading?" she said. "I have to be held and when you turn the pages it makes me feel all funny."

Finally they reached Paris and went to a little hotel on the Left Bank that Anastasia Alexandrovna knew of. She said it had atmosphere. She could not bear those great big grand hotels on the other side; they were hopelessly vulgar and bourgeois.

"I'll go anywhere you like," said Ashenden, "as long as there's a bathroom."

She smiled and pinched his cheek.

"How adorably English you are. Can't you do without a bathroom for a week? My dear, my dear, you have so much to learn."

They talked far into the night about Maxim Gorki and Karl Marx, human destiny, love and the brotherhood of man; and drank innumerable cups of Russian tea, so that in the morning Ashenden would willingly have breakfasted in bed and got up for luncheon; but Anastasia Alexandrovna was an early riser. When life was so short and there was so much to do it was a sinful thing to have breakfast a minute after half-past eight. They sat down in a dingy little dining-room the windows of which showed no signs of having been opened for a month. It was full of atmosphere. Ashenden asked Anastasia Alexandrovna what she would have for breakfast.

"Scrambled eggs," she said.

She ate heartily. Ashenden had already noticed that she had a healthy appetite. He supposed it was a Russian trait: you could not picture Anna Karenina making her midday meal off a bath-bun and a cup of coffee, could you?

After breakfast they went to the Louvre and in the afternoon they went to the Luxembourg. They dined early in order to go to the Comédie Française; then they went to a Russian cabaret where they danced. When next morning at eight-thirty they took their places in the dining-room and Ashenden asked Anastasia Alexandrovna what she fancied, her reply was:

"Scrambled eggs."

"But we had scrambled eggs yesterday," he expostulated.

"Let's have them again to-day," she smiled.

"All right."

They spent the day in the same manner except that they went to the Carnavalet instead of the Louvre and the Musée Guimet instead of the Luxembourg. But when the morning after in answer to Ashenden's enquiry Anastasia Alexandrovna again asked for scrambled eggs, his heart sank.

"But we had scrambled eggs yesterday and the day before," he said.

"Don't you think that's a very good reason to have them again to-day?"

"No, I don't."

"Is it possible that your sense of humour is a little deficient this morning?" she asked. "I eat scrambled eggs every day. It's the only way I like them."

"Oh, very well. In that case of course we'll have scrambled eggs."

But the following morning he could not face them.

"Will you have scrambled eggs as usual?" he asked her.

"Of course," she smiled affectionately, showing him two rows of large square teeth.

"All right, I'll order them for you, I shall have mine fried."

The smile vanished from her lips.

"Oh?" She paused a moment. "Don't you think that's rather inconsiderate? Do you think it's fair to give the cook unnecessary work? You English, you're all the same, you look upon servants as machines. Does it occur to you that they have hearts like yours, the same feelings and the same emotions? How can you be surprised that the proletariat are seething with discontent when the bourgeoisie like you are so monstrously selfish?"

"Do you really think that there'll be a revolution in England if I have my eggs in Paris fried rather than scrambled?"

She tossed her pretty head in indignation.

"You don't understand. It's the principle of the thing. You think it's a jest, of course I know you're being funny, I can laugh at a joke as well as anyone, Chekhov was well-known in Russia as a humourist; but don't you see what is involved? Your whole attitude is wrong. It's a lack of feeling. You wouldn't talk like that if you had been through the events of 1905 in Petersburg. When I think of the crowds in front of the Winter Palace kneeling in the snow while the Cossacks charged them, women and children! No, no, no."

Her eyes filled with tears and her face was all twisted with pain. She took Ashenden's hand.

"I know you have a good heart. It was just thoughtless on your part and we won't say anything more about it. You have imagination. You're very sensitive. I know. You'll have your eggs done in the same way as mine, won't you?"

"Of course," said Ashenden.

He ate scrambled eggs for breakfast every morning after that. The waiter said: "Monsieur aime les œufs brouillés." At the end of the week they returned to London. He held Anastasia Alexandrovna in his arms, her head resting on his shoulder, from Paris to Calais and again from Dover to London. He reflected that the journey from New York to San Francisco took five days. When they arrived at Victoria and stood on the platform waiting for a cab she looked at him with her round, shining and slightly protuberant eyes.

"We've had a wonderful time, haven't we?" she said.

"Wonderful."

"I've quite made up my mind. The experiment has justified itself. I'm willing to marry you whenever you like."

But Ashenden saw himself eating scrambled eggs every morning for the rest of his life. When he had put her in a cab, he called another for himself, went to the Cunard office and took a berth on the first ship that was going to America. No immigrant, eager for freedom and a new life, ever looked upon the Statue of Liberty with more heartfelt thankfulness than did Ashenden, when on that bright and sunny morning his ship steamed into the harbour of New York. 

END

Copyright © MyMaughamCollection. All Rights Reserved

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My Maugham Collection Concordance Library by MyMaughamCollection is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Thursday, October 3, 2024

10 New Literary Agents Seeking MG, YA, New Adult, Cookbooks, Romance, Memoirs, Literary Fiction and more

Here are ten new literary agents actively seeking clients. New agents are a boon to writers. They are actively building their lists, and will go the extra mile for their clients.

All of these agents work for established agencies with good track records. They are looking for all genres.

Always check the agency website and agent bio before submitting. Agents can switch agencies or close their lists, and submission requirements can change. 

NOTEDon't submit to several agents at the same agency simultaneously. If one rejects you, you may then submit to another. (Some small agencies share. Be alert to a notice that "a no from one is a no from all.")

You can find a full list of agents actively seeking new clients here: Agents Seeking Clients

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Ms. Sandra Proudman of Gallt & Zacker Literary Agency

Sandra Proudman (she/her/ella) is a literary associate at Gallt & Zacker Literary Agency, assisting Marietta Zacker and representing a small list of authors and author-illustrators. She is passionate about bringing underrepresented voices to the forefront and is also a committee member of #LatinxPitch. When not busily immersed in all things publishing, you can find her spending time with her amazing husband and adorable toddler, catching up on all her shows, and taking care of her vegetable garden. She is also the author of the YA fantasy, Salvación, ( Wednesday Books) and the editor of the Latinx anthology RELIT: 16 Latinx Remixes of Classic Stories (Inkyard Press). Connect with her on Twitter, Instagram, and TikTok @SandraProudman.

What she is seeking: Sandra  represents adult, MG, YA and New Adult fiction authors and author-illustrators. She also represents juvenile nonfiction.

How to submit: Sandra is open to queries from the 1st to the 7th of every month. Use her querymanager HERE.

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Marit Versantvoort of Sebes & Bisseling

I started as an intern at Sebes & Bisseling after studying European Studies and finishing a master’s in editing, both at the University of Amsterdam. I am now a literary agent and represent Dutch authors as well as American and British clients. When I’m not reading you can usually find me trying out new recipe’s or at a new restaurant.

What she is seeking: I have special interest in cookery and romance, while also enjoying literary and commercial fiction, health and lifestyle books, music, art, politics and true crime. Any book that’s refreshing, new and beautiful will attract my attention and I look forward to working on many types of projects. The books that I love the most are ones that really take you into their world and make you feel like you belong there.

How to submit: Follow the guidelines HERE.

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Fatiha Panjwani of Sebes & Bisseling

My name is Fatiha Panjwani and, after obtaining a BA in Literary and Cultural Analysis and an MA in Publishing at the University of Amsterdam, I started at Sebes & Bisseling as an intern. I now work as a junior literary agent, as well as support the contracts administration department. 

What she is seeking: Personally, I enjoy reading fiction, memoirs, and essays, but I prefer to look beyond my own taste when I’m at work. I find it important to highlight new voices, unique perspectives and anything that is innovative or special within its genre, regardless of what that genre may be.

How to submit: Follow the guidelines HERE.

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Mr. Mark O'Brien of Jennifer Azantian Literary Agency

Mark O'Brien joined Azantian Literary Agency in 2024 with nine years of experience in the book publishing industry. Prior to ALA, Mark interned at Entangled Publishing, Stonesong, Triada US Literary Agency, and Writers House, and worked as Sales Coordinator at NetGalley for three years. Mark has also worked as a freelance editor and sensitivity reader, as well as a volunteer with organizations like #DVpit, Tessera Editorial, and Quillers SWANA. Authors Mark has worked with in these roles include Becky Albertalli, Kelly Loy Gilbert, Victoria Aveyard, Ryan La Sala, Lydia Kang, J. Elle, Gabe Cole Novoa, Varian Johnson, Jessica Kim, Sayantani DasGupta, and many more.

What he is seeking: MG, YA, adult queer romance, as well as nonfiction. Across genres, age groups, and categories, Mark loves lyrical prose he can get lost in, wordplay, and a sense of humor. As a queer, neurodivergent person himself, Mark is especially excited about working with queer, neurodivergent, BIPOC, and disabled creators.

How to submit: Use his querymanager HERE.

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Ms. Lauren Liebow
of Aevitas Creative Management

Based in New York, Lauren graduated with honors from the United States Military Academy at West Point, where she received a BS in English Literature. She served as a commissioned Army officer in El Paso, TX, and worked as an English writing tutor before joining Aevitas.

What she is seeking: Lauren Liebow is interested in representing authors across literary and upmarket fiction as well as non-fiction.

In fiction, she is drawn to projects that feature voice-driven narratives and is most fascinated by genre-bending novels written in beautiful prose. She’s looking for timeless stories that explore topics such as migration, family, socioeconomic inequality, and speculative worlds that also expose complicated truths about our own world.

She’s also interested in working on nonfiction projects, focusing on narrative nonfiction, memoir, and investigative journalism. Across all genres, she’s keenly interested in books that uplift historically underrepresented voices.

How to submit: Use her querymanager HERE.  

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Ms. Hunter Strickland
of Focused Artists

Hunter joined Focused Artists as a junior agent in 2024 after completing an apprenticeship with Co-founder Kristina Sutton. She previously held assistant roles at the Oklahoma Hall of Fame at the Gaylord Pickens Museum for publishing and editing. During her time there she developed a background working with historical non-fiction. 

What she is seeking: Hunter’s list of interests are just as extensive as her background. While she has previous experience in the sports world and historical nonfiction, she is also drawn to fantasy worlds with unique elements.

Titles Hunter is currently seeking include:

  • Fantasy
  • Romance
  • Historical Fiction
  • Women's fiction 
  • Young Adult
  • New Adult

Hunter is particularly drawn to anything mythology based or inspired. 

How to submit: Use her querymanager HERE.

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Helen Masvikeni of Megibow Literary Agency

Helen’s unique background brings an interesting and fresh perspective to the publishing  world. She has an extensive background in the arts having been an internationally-performing musician and photographer as well as having worked in video, theater and film. Before COVID, she worked in marketing both in  the non-profit sector and for the Denver Center for Performing Arts. Originally from Harare, Zimbabwe and now residing in Colorado, Helen is passionate about storytelling and artistic expression. As a literary agent, she is focused on combining her own experience as an artist with the business side of publishing to support authors from creation through publication and beyond.

What she is seeking: I represent authors who write adult thriller, adult mystery, adult crime, adult non-fiction and memoir, anything "folklore", picture books (fiction and nonfiction/ all sub-genres), and adult romance (all sub-genres).

How to submit: Follow submission guidelines HERE.

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Mr. Matthew Valdez of Megibow Literary Agency

Matthew holds a Bachelor’s in Secondary Education from the Metropolitan State University of Denver, and is currently attending The University of Central Florida to obtain his Master’s in Educational Leadership. He lives in sunny Florida where he teaches High School English and hopes just a sliver of his passion for books rubs off on his students.

What he is seeking: Matthew Valdez represents storytellers who write for both adults and young adults. He is looking for horror, science fiction, upmarket commercial fiction, historical fiction, fantasy, psychological thriller, contemporary YA, adult contemporary romance, and graphic novels in any genre. He longs to champion stories from all marginalized backgrounds, and especially voices from the LGBTQ+ community. 

How to submit: Follow submission guidelines HERE.

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Anna Clark of Wordlink Literary Agency

Anna’s passion for a good story started as a child on the theatre camp stage and was nurtured throughout her life by a love of reading and performance. She is a proud Filipino-American born and raised in southern Georgia by her first generation mother and southern grown father. She attended Belmont University, earning a degree in English, Theatre, and Education. She now resides in Nashville where she has worked as a high school teacher and Teaching Artist for a local theater.

What she is seeking: Anna is looking for dark fiction such as psychological, gothic, southern gothic, paranormal, and literary horror, as well as new adult fiction about immigrant diaspora, interracial identity, and multi-generational conflict. As a lover of the stage and all things dramatic, she appreciates cinematic writing that paints clear pictures of complex worlds and characters in the reader’s mind. She celebrates own voices, particularly those that are usually overlooked or ignored in traditional spaces.

How to submit: Follow submission guidelines HERE.

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Ally Gelber of Waxman Literary 

Ally Gelber joined Waxman Literary in 2024 after completing an internship at Writers House. She began her career in publishing as a bookseller at Powell’s legendary bookstore, and moved to New York in 2024 to pursue agenting. 

What she is seeking: She gravitates towards contemporary literary fiction—specifically autofiction and literature in translation—and appreciates Gen Z perspectives with polished, witty flair.

How to submit: Follow submission guidelines HERE.

Friday, September 27, 2024

109 Calls for Submissions in October 2024 - Paying markets

This October there are more than nine dozen calls for submissions. All of these are paying markets, and none charge submission fees. As always, every genre, style, and form is wanted, from short stories to poetry to essays.

I post upcoming calls for submissions shortly before the first day of every month. But as I am collecting them, I post them on my page, Calls for Submissions. You can get a jump on next month's calls for submissions by checking that page periodically throughout the month. (I only post paying markets.)

Also see Paying Markets for hundreds of paying markets arranged by form and genre.

Happy submitting!

Note: I update this list continually throughout the month, so check back frequently for new submission calls.

(Image: Pickpik)

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SundogGenre: Fiction, poetry, nonfiction, art. Payment: $50. Deadline: Opens October 1, 2024, and closes when they reach capacity.

PhanoGenre: Short stories and essays, 5000 words maximum. Payment: 2 cents/word. Deadline: Opens October 1, 2024. 

MudroomGenre: Poetry, fiction, essays, and essays in translation. Payment: $15. Deadline: Opens October 1, 2024. 

Over/ExposedRestrictions: "We prioritize the work of graduate students, so please indicate in your submission if you are a graduate student, including your university, and department." Open internationally. Genre: Flash, short fiction, and non-fiction personal essays/memoir, poetry, reviews, experimental, art. "We are focused on the publication of works that are vulnerable, experimental, a little bit weird and sexy." Payment: CAD $15, Deadline: Opens October 1, 2024. 

Strange HorizonsGenre: Speculative fiction. Payment: 10¢/word USD. Deadline: Opens October 1, 2024, and closes when they reach capacity.

Polar BorealisRestrictions: Open to Canadians only. Genre: Speculative fiction. Payment: 1 cent per word. $10 for one thousand words or less. $20 for two thousand words or less (but reasonably above one thousand). $30 for three thousand words or less (but reasonably above two thousand). Deadline: Opens October 1, 2024.

The Forge Literary MagazineGenre: Fiction, flash fiction, micro-fiction. Length: Under 3,000 words preferred. Payment: $75. Deadline: Opens October 1, 2024. They open to fee-free submissions on the first of each month and close when they reach their quota.

Flash Fiction OnlineGenre: Flash fiction. Payment: $100. Deadline: Opens October 1, 2024, and closes when they reach capacity.

Galaxy’s EdgeGenre: Fantasy or urban fantasy. Payment: $0.07/word for stories up to 10,000 words. Deadline: October 1, 2024.

White StagGenre: Poetry, fiction, essays on theme: personal mythology & familial lore. Payment:  $5 per poem or $10 per flash fiction or lyrical essay piece + one copy of the printed anthology. Deadline: October 1, 2024.

QuistRestrictions: Open to writers and artists between the ages of 14 and 21 and based in Quebec. Genre: Poetry and prose. Payment: $75. Deadline: October 1, 2024.

Toronto JournalGenre: Short stories from anywhere in the world. No word limit. "We will also consider non-fiction pieces that are either set locally or explore some local history (Toronto, GTA, and surrounding)." Payment: $50 CAD per piece. All published writers will also receive two printed copies of the issue in which they appear. Deadline: October 1, 2024.

The Last LineGenre: Fiction that ends with the last line provided. Payment: $20-$40. Deadline: October 1, 2024. 

The Iowa ReviewGenre: Fiction, poetry. Payment: $1.50 per line for poetry ($100 minimum) and $0.08 per word for prose ($100 minimum). Deadline: October 1, 2024. No fee for snail mail submissions. $4 fee for online submissions.

The Paris ReviewGenres: Fiction, poetry. Payment: Not specified. Deadline: Opens October 1, 2024, and closes when they reach capacity.

Gordon Square ReviewGenre: Poetry, short stories, personal essays, and hybrid prose works.  Payment: $25 per prose piece and $10 per poem. Deadline: October 1, 2024.

CutleafGenre: Literary nonfiction. Length: Less than 6,000 words. Payment: $100 to $400. Deadline: October 1, 2024.

Bright Wall/Dark RoomGenre: Essays on film and TV. See themePayment: $100 per essay. Deadline: October 1, 2024.

The Other Stories (Audio). Genre: Horror on themes. Payment: 15 GBT. Deadline: October 1, 2024. See themes.

Cogs and CutlassesGenre: Steampunk Adventure Fiction. Theme: A collection of piracy themed stories, set in a steampunk environment. Word Count: 5,000 – 10,000. Payment: Royalties. Deadline: October 1, 2024. 

Science Fiction Is a Drag! Genre: Science fiction stories that are, first and foremost, drag. Payment: $50. Deadline: October 1, 2024. 

Humour Me. Genre: Humorous short stories and cartoons. See themes. Payment: Flat fee of £20.00 per accepted submission for stories. Flat fee of £5.00 per accepted cartoon submissions. Deadline: October 2, 2024. 

Cosmic Roots and Eldritch ShoresGenre: Speculative stories. Payment: 8 cents/word for original work. 2 cents/word for reprints. Deadline: October 2, 2024. Opens October 1. This is a monthly call.

Stone's ThrowGenre: Noir, dark fiction, crime short stories. Length: between 1,000 and 2,000 words. See themePayment: $25. Deadline: October 4, 2024. 

GutterGenre: Poetry and prose in Scotland and beyond. Length: Poetry submissions can consist of up to five poems, totaling no more than 120 lines. Prose, up to 3000 words. Payment: £30. Deadline: October 4, 2024.

Space Cowboys 6Genre: Speculative fiction. "Cowboys have a certain reckless reputation and that doesn’t fade away when you move them into space and onto alien worlds. Men and women who face hardships and rope a living out of an unforgiving landscape without waiting for orders from a distant authority. They do what needs to be done and take care of their animals, their people, and themselves." Payment: Royalty share. Deadline: October 4, 2024. 

EcotoneGenre: Poems in the French repeating forms: Especially rondeaux, rondels, rondelets, ballades, and the like.Flash fiction and nonfiction: Up to three works between 750 and 2,000 words Payment: $100 minimum for poetry and a $200 minimum for prose. Deadline: October 5, 2024. Fee-free peroid opens October 1.

Stone's ThrowGenre: Noir, dark fiction, crime short stories. Length: between 1,000 and 2,000 words. See themePayment: $25. Deadline: October 7, 2024. 

Cosmic Horror Patreon. Genre: Cosmic horror, Lovecraftian, and weird fiction. Payment: 3 cents/word. Deadline: October 7, 2024. 

Confounding Cupids: When Love Goes AwryGenre: Fantasy, science fiction, humor, and romance, appropriate for up to a “PG-13” audience. Look past Cupid’s bow, and show us the beautiful chaos of love. Confound your Cupids with unexpected results, hilarious mistakes, and terrifying consequences. Central to your story should be a match or matches full of paradoxes and delightful disorder. Payment: 6¢/word. Deadline: October 7, 2024. 

The AestheteGenre: Fiction, poetry. Payment: $5. Deadline: October 7, 2024. 

Affirm PressRestrictions: They only accept Australians. Genre: All literary and genre fiction. For non-fiction, they are interested in most subjects that have a connection to Austria. authors or authors based in Australia, and only manuscripts that haven’t been previously published. They only accept submissions on the first Monday of each month. Read their submission guidelines herePayment: Royalties. Deadline: October 7, 2024. 

Black Ink BooksRestrictions: Open to Australian writers. Genre: Full-length general, literary and commercial non-fiction – including history, current affairs, memoir and biography. Payment: Royalties. Deadline: October 7, 2024. Note: Open to submissions the first week of every month.

Tales from the Moonlit PathGenre: Dark, eerie speculative fiction and poetry. Payment: $10 for fiction. Deadline: October 12, 2024. 

Flame Tree Publishing This Way Lies MadnessGenre: Horror on theme: Madness. Payment: 8 cents/word. Deadline: October 13, 2024. 

Griffith ReviewGenre: Short fiction and nonfiction up to 4,000 words. See theme. Payment: AUD 0.75/word for print prose. Deadline: October 13, 2024. 

DaikaijuzineGenre: Speculative fiction, poetry, art. Payment: $10.00 for each short story, and $5.00 for each poem and flash fiction piece. Deadline: October 13, 2024.

Solarpunk MagazineGenre: Solarpunk. Payment: $0.08/word for fiction, $40/poem, and $75/essay.  Deadline: October 14, 2024.

Inner Worlds ZineGenre: Science fiction, fantasy, or supernatural horror prose with a strong emotional or psychological focus. "We are mainly interested in fiction, but we’re open to speculative memoir or creative non fiction, as long as it has speculative elements.” Payment: £0.02 per word for each piece accepted, with a minimum £20 payment. Deadline: October 14, 2024, for members of marginalised groups only.

Cast of WondersGenre: YA Speculative fiction; podcast. Payment: $.08/word for original fiction up to 6,000 words. For reprints, a $100 flat rate for Short Fiction, and a $20 flat rate for Flash Fiction. DeadlineDeadline: October 14, 2024.

New Orleans ReviewGenre: Fiction, nonfiction and poetry. Payment: $300 for prose, $100 for poetry. Deadline: October 15, 2024. In celebration of Hispanic Heritage Month, there are no submission fees for Latinx writers from September 15th to October 15th.

Electric SpecGenre: Speculative fiction. Payment: $20 per piece. Deadline: October 15, 2024.

QT: Queer Toronto Literary Magazine Genre: Poetry, fiction, creative nonfiction, book reviews, personal essays, reflections, memoirs, as well as artwork, drawings, comics, photographs, collages, and other visual media. "Here, queer literature is not limited to explicitly queer content, but rather works created by LGBTQ2SIA+ people. Individuals from underrepresented communities, especially women, trans people, and BIPOC artists and writers are encouraged to self-identify in their submission email. Creators based in, or content featuring Toronto will be given extra consideration, but QT welcomes all pieces and artists with a connection to Canada." Payment: Featured artists and authors will receive an honorarium of $15. Issue designers will receive an honorarium of $100. Deadline: October 15, 2024. 

Spring Into SciFiGenre: Science fiction short stories. Payment: $15. Deadline: October 15, 2024. 

Winter HorrorlandGenre: Horror. Word Count: 1,500-4,000. See themePayment: $25. Deadline: October 15, 2024.

Midnight Meadow Publishing's goal is to publish engaging and unique LGBTQ+ stories while elevating marginalized voices. They are interested in a wide variety of genres. Read submission guidelines HEREDeadline: October 15, 2024.

Consequence Magazine: The Culture of WarGenre: Short fiction, poetry, nonfiction, interviews, reviews, and visual art mainly focused on the culture of war. Payment: $20 - $60 for prose and poetry, $150 for art. Deadline: October 15, 2024.

McClelland & Stewart is a division of Penguin Random House. Restrictions: Open to Black, Indigenous, and racialized writers, as well as those of other traditionally underrepresented communities. Genre: Full-length literary fiction, non-fiction, and poetry. Payment: Advance and royalties. Deadline: October 15, 2024.

Painted Hearts PublishingGenre: HOLIDAY short stories! Submissions should be between 15k and 25k words, be of a romantic nature, and contain a holiday/winter theme. All genres of LGBTQ+ romance and all heat levels are welcome. Payment: $100. Deadline: October 15, 2024.

Hub City PressGenre: Books of literary fiction, poetry, creative nonfiction, regional nonfiction, nature, and art. "We are seeking new and extraordinary voices from the American South." Payment: Royalties. Deadline: October 15, 2024. Fiction only.

Translunar Travelers LoungeGenre: Speculative fiction. Payment: $0.03 per word with a minimum of $20. Deadline: October 15, 2024. 

Rattle: Tribute to the HaibunGenre: Haibun. Payment: $200. Deadline: October 16, 2024.

Belmont Story ReviewGenre: Fiction, creative nonfiction, and poetry. Payment: $100 for prose, $50 for poetry. Deadline: October 16, 2024.

Roxane Gay BooksGenre: Un-agented novels, short fiction collections, memoirs, narrative nonfiction books, and personal essay collections. Payment: Royalties. Deadline: October 16, 2024.

Roxane Gay BooksGenre: Novels, short fiction, memoir, essay collections, and nonfiction. Payment: Royalties. Deadline: October 16, 2024.

ShooterGenre: Fiction, poetry, CNF, art on theme of Coming of Age. Payment: £25 per story and £5 per poem. Deadline: October 20, 2024.

LunateGenre: Short stories and nonfiction of approximately 2,000 to 10,000 words. Payment: £100.  Deadline: October 20, 2024. Print journal.

Seaside GothicGenre: Seaside gothic fiction, poetry, nonfiction, or a collection of photographs or illustrations. Payment: £0.01 per word. Deadline: October 20, 2024.

Speculative CityGenre: Speculative fiction set in the city.  Payment: $20-$55 according to the category and length of the submission. Deadline: October 20, 2024.

Smoking Pen Press: Time TravelGenre: Sci-Fi, Romance, Comedy, Fantasy, Adventure on theme: Time Travel. Payment: $20. Deadline: October 21, 2024.

Girl Dad Press: Sex Change and the CityRestrictions: Any and all queer people, whatever that means to you. Genre: Personal essays, critical analyses, comics, fanfic, visual art, games, power rankings, personality quizzes, and "anything else that could theoretically be printed in a weird little book" on theme: Sex Change and the City. Payment: $100. Deadline: October 21, 2024.

TypehouseRestrictions: October 14-21: In honor of Hispanic Heritage Month, no-fee submissions are open for all Hispanic/Latino/a/e/x creators, not limited to those in the US. Genre: Poetry, prose, art. Payment: $5. Deadline: October 21, 2024.

AstrolabeGenre: Fiction, creative nonfiction, and photography & art. Payment: $50. Deadline: October 22, 2024.

Off Topic Publishing: Poetry BoxGenre: Poetry. Payment $40 CAD. Deadline: October 25, 2024. This is a monthly call. Submit by the 25th of each month.

HavokGenre: Flash fiction. See themesPayment: $50 via PayPal for each story selected for an Anthology. No payment for online publication. Deadline: October 25, 2024.

RiddlebirdGenre: Literary fiction, personal essays. Payment: $100. Deadline: October 26, 2024.

Flame Tree Press: AfrofuturismGenre: Speculative fiction that is located in "the African point of view, experience, culture, themes, and history with technology based in Africa, not the diaspora." Payment: 8 cents/6 pence per word for original stories, 6 cents/4 pence for reprints. Deadline: October 27, 2024. Accepts reprints.

The Suburban ReviewGenre: Prose, art, poetry. Theme: Disability. Payment: AUD150-275 for prose; AUD125-275 for poetry; comics and art AUD100-300. Deadline: October 27, 2024.

Flame Tree Press: Were Wolf Short Stories. Genre: Stories about werewolves, shapeshifting humans, rivalries and alliances between vampyr and werewolves. Payment: 8 cents/6 pence per word for original stories, 6 cents/4 pence for reprints. Deadline: October 27, 2024. Accepts reprints.

MythaxisGenre: Speculative fiction. Payment: $20. Deadline: October 30, 2024.

Deadset Press: Rebels and RainbowsRestrictions: Open to all Australian and New Zealand authors who identify as LGBTIQA+, from any gender identity, and ally authors. Genre: Stories that feature LGBTIQA+ characters of any gender identity across the wide universes of speculative fiction. Swashbuckling pirates, mischievous necromancers, charming elder gods, dashing bounty hunters, anything goes! Payment: $25. Deadline: October 30, 2024.

AgbowoRestrictions: Open to African origin writers only. Genre: Fiction, nonfiction, poetry, plays, book reviews and art/photography. Payment: Single Poems - $25; Suites of poems (2-4) - $50; One act plays -$50; Essays/Nonfiction - $60; Fiction - $60; Visual Art - $35. Deadline: October 30, 2024.

How2ConquerGenre: Nonfiction books. Payment: Royalties. Deadline: October 31, 2024. 

BansheeGenre: Poetry, essays, flash fiction, short stories. Payment: €250 for a story/essay; €75 for flash fiction; €50/poem. Deadline: October 31, 2024. 

No Exit: A Collection of Utah HorrorGenre: Travel horror with a Utah connection. Payment: Poetry - $15 USD; Flash - $20 USD; Short Fiction - $40 USD. Deadline: October 31, 2024. 

Dread MondaysGenre: Workplace horror. Payment: 6 cents/word. Deadline: October 31, 2024.

Into the DarkGenre: Character-driven dark fantasy and fantastical horror stories "that take on challenging themes, spark fear and wonder and so many other emotions, and immerse the reader in extremes of experience." Payment: $20. Deadline: October 31, 2024. 

Nine ArchesGenre: Poetry collections. Payment: Royalties. Deadline: October 31, 2024.

Black Lawrence Immigrant Writing SeriesRestrictions: Open to any individual living in the U.S. who identifies as an immigrant and who either (i) was born in another country, (ii) has at least one parent who was born in another country (iii) is a refugee, or (iv) lives in the United States under Asylum or a Protection Program, such as TPS or DACA. Genre: Books of poetry, prose (fiction or nonfiction), and hybrid texts of poetry and prose. Payment: In addition to publication, marketing, and a standard royalties contract from Black Lawrence Press, authors chosen for the Black Lawrence Immigrant Writing Series will receive a travel stipend of $500, which can be used for book tours or in any manner chosen by the authors. Deadline: October 31, 2024.

BrickGenre: Nonfiction. Payment: $55–725, depending on the length of accepted work, plus two copies of the issue the work appears in and a one-year subscription to the magazine. Deadline: October 31, 2024.

Uproar. Genre: Poets and storytellers will be asked to submit a piece of writing (poem or short story) that centers around an original photograph. Payment: $10. Deadline: October 31, 2024.

The Temz ReviewGenre: Prose (fiction and creative non-fiction) up to 10,000 words long. Payment: $20. Deadline: October 31, 2024.

MetaStellarGenre: Science fiction, fantasy or horror. 1000 words max. Payment: 8 cents per word. Deadline: October 31, 2024.

Diet Milk: ‘In The Bleak Midwinter.' Genre: Gothic micro/flash fiction. Payment: $3 for micro fiction, $5 for flash fiction. Deadline: October 31, 2024. (Runs from October 1 - 31)

New Writing ScotlandRestrictions: Open to writers resident in Scotland or Scots by birth, upbringing or inclination. Genre: All forms of writing. Payment: £50 for the first published page and £25 for each subsequent published page. Deadline: October 31, 2024.

Harbor ReviewGenre: Poetry, art. Payment: $10. Deadline: October 31, 2024.

Rebel Satori PressGenre: Book-length nonfiction on the occult and esoterica. Payment: Royalties. Deadline: October 31, 2024.

Cozy Mysteries from the RockRestrictions: Open to Canadians. Genre: Cozy mystery. Length: under 10,000 words. Payment: $0.01 CAD per word. Deadline: October 31, 2024.

Inner Worlds ZineGenre: Science fiction, fantasy, or supernatural horror prose with a strong emotional or psychological focus. "We are mainly interested in fiction, but we’re open to speculative memoir or creative non fiction, as long as it has speculative elements.” Payment: £0.02 per word for each piece accepted, with a minimum £20 payment. Deadline: October 31, 2024.

Isele QuarterlyGenre: Fiction, nonfiction, poetry, photography, visual art, and hybrid works that explore the theme: Air Pollution. Payment: "Modest." Deadline: October 31, 2024.

Midnight MenagerieGenre: Stories that feature the strange and bizarre from around the cosmos and other dimensions. Payment: $15. Deadline: October 31, 2024.

Dust & DarkGenre: Horror. Payment: £0.07 per word. Deadline: October 31, 2024.
 
Flash Point Science FictionGenre: Speculative fiction stories from 100 to 1,000 words in length. "Send us your science fiction, fantasy, slipstream, and everything in between, so long as it’s short." Payment: 2 cents/word. Deadline: October  31, 2024.

JMS BooksGenre: LGBTQ romance stories, 12,000 words minimum. See themePayment: Royalties. Deadline: October 31, 2024.

Parallel Universe Publications: Swords & SorceriesGenre: Heroic fantasy. Payment: £25; and an additional £25 if a hardcover version is issued. Deadline: October 31, 2024. 

Augur MagazineGenre: Speculative fiction. Payment: $0.14 cents (CAD) per word for short fiction (1000+ words), and a flat fee of $112.00 per flash fiction piece (1000 words and under). Deadline: October 31, 2024.

Tales and Feathers. Genre: Cozy SFF fiction up to 2500 words. Payment11 cents CAD/word. Deadline: October 31, 2024.

Summer of Sci-Fi & FantasyGenre: Science fiction and fantasy. Length: 1500-7500 words. Payment: $0.005/word up to 7500 words. Minimum of $15. Reprints paid at full rate. Deadline: October 31, 2024. Accepts reprints.

Hub City PressGenre: Books of literary fiction, poetry, creative nonfiction, regional nonfiction, nature, and art. "We are seeking new and extraordinary voices from the American South." Payment: Royalties. Deadline: October 31, 2024. Nonfiction only.

Dragon Soul Press: Dragon Legends. Genre: "All dragon stories. All genres accepted." Payment: Royalties. Deadline: October 31, 2024.

Graveside Press: Cosmic Horror Anthology.  Genre: Cosmic horror. 2,000 – 6,000 words in length. Payment: $0.02/word. DeadlineOctober 31, 2024.

KaleidotropeGenre: Speculative fiction and poetry—science fiction, fantasy, and horror, but also compelling work that blurs the lines between these and falls outside of neat genre categories. Payment: For fiction, $0.01/word (1 cent a word) USD. For poetry, a flat rate of $5 USD per accepted piece. For artwork, a flat rat of $60 for cover art. Deadline: October 31, 2024.

Black Beacon Books: Steampunk SleuthsGenre: Steampunk Sleuths will be an anthology of four novelettes (15 - 20,000 words) featuring detectives in a steampunk setting solving peculiar crimes. The only requirements for submission will be that the means of committing the crime (murder, theft, kidnapping...) must be clearly steampunk and the reader must be given the tools to crack the case before the solution is revealed.  Payment: $50. Deadline: October 31, 2024.

Haven SpeculativeGenre: Speculative fiction and poetry. Payment: 8¢ per word for fiction and $20 for poetry. Deadline: October 31, 2024.

The RumpusGenre: Essays, comics. Payment: $400 divided among all contributors. Deadline: October 31, 2024.

Chicken Soup for the Soul: Dog StoriesGenre: True stories and poems. "We are looking for first-person true stories and poems up to 1200 words that highlight the unique personalities that cats have. Celebrate your cat, or a cat you know, with a wonderful story about what he or she does. Stories can be serious or humorous, or both." Payment: $200. Deadline: October 31, 2024.

Nonbinary ReviewGenre: Poetry, fiction, essays, and art. See theme. Payment: $10 - $25. Deadline: October 31, 2024.

Rebellionlit: Three x The FunGenre: Flash fiction and short stories that rebel in some way. All genres. Payment: 1.5 cents/word. Deadline: October 31, 2024. 

Trollbreath Magazine. Genre: Speculative fiction and poetry. Payment: 4 cents/word for originals; 1/2 cent/word for reprints. Deadline: October 31, 2024. Accepts reprints

AND A FEW MORE

The Forge Literary MagazineGenre: Fiction, flash fiction, micro-fiction. Length: Under 3,000 words preferred. Payment: $75. Deadline: Opens November 1, 2024. They open to fee-free submissions on the first of each month and close when they reach their quota.

Last Girls ClubGenre: Feminist horror: short stories and poems - see themes. Payment: Fiction, 15 cents/word. Poetry, $10. Deadline: November 1, 2024.

Ninth Letter Web EditionGenre: Fiction, nonfiction, and poetry. See theme. Payment: $25 per poem and $75 for prose. Deadline: November 1, 2024.

FoglifterGenre: Foglifter is a biannual compendium of  queer and trans writing. It’s a space where LGBTQ+ writers celebrate, mourn, rage, and embrace. "Foglifter welcomes daring and thoughtful work by queer and trans writers in all forms, and we are especially interested in cross-genre, intersectional, marginal, and transgressive work. We want the pieces that challenged you as a writer, what you poured yourself into and risked the most to make. But we also want your tenderest, gentlest work, what you hold closest to your heart. Whatever you're working on now that's keeping you alive and writing, Foglifter wants to read it." Payment: $25. Deadline: November 1, 2024.

OlitRestrictions: Strong preference for Orlando based writers/submissions about Orlando and surrounding areas. Genre: Fiction, Nonfiction, Poetry, Hybrid, Artwork, Photography. "Send us all kinds of stuff. We love the artfully weird." Payment: $10. Deadline: November 1, 2024.

Poetry Ireland ReviewGenre: Poetry. Payment: €50, or a year's subscription to the review. Deadline: November 1, 2024.

Antiphony PressGenre: Poetry collection. Payment: $500 plus 10 copies of your book. Deadline: November 1, 2024.

The Other Stories (Audio). Genre: Horror on themes. Payment: 15 GBT. Deadline: November 1, 2024. See themes.

CutleafGenre: Poetry Payment: $50 to $100. Deadline: November 1, 2024.

Iron HorseGenre: Poems, stories, and essays that center around deception: false pretenses, fraud, sleight-of-hand tricks, the Big Lie, poker faces, academic dishonesty, infidelity, AI, spin jobs, any type of monkey business. "We'll be especially happy to receive manuscripts about the lies that save people."
Payment: $100 per essay or story, and $50 per poem or flash piece. Deadline: Free day November 1, 2024.

Wyld MagickGenre: Fantasy. Theme: Forest Fae. Word Count: 5,000 – 10,000. Payment: Royalties. Deadline: November 1, 2024.

ThemaGenre: Fiction, poetry, and art on theme: Maybe Next Time. Payment:  $10-$25 for short fiction and artwork, $10 for poetry. Deadline: November 1, 2024. Accepts reprints.

The First LineGenre: Fiction, poetry, nonfiction using the first line provided. (See site.) Payment: $25.00 - $50.00 for fiction, $10.00 for poetry, and $25.00 for nonfiction. Deadline: November 1, 2024.

Wednesday, September 25, 2024

53 Writing Contests in October 2024 - No entry fees

This October there are more than four dozen free writing contests for short fiction, novels, poetry, CNF, nonfiction, and plays. Prizes this month range from $150,000 to publication. None charge entry fees.

Some of these contests have age and geographical restrictions, so read the instructions carefully.

If you want to get a jump on next month's contests go to Free Contests. Many of these contests are offered annually, so even if the deadline has passed, you can prepare for next year.

Good luck! 

Note: I update this list continually throughout the month, so check back frequently for new contests.

(Image: Pexels)

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Brave New Weird AwardGenre: Weird Horror reprints. "Any previously published piece of short fiction under 7.499 words originally published in the English language within the previous calendar year. Stories published in other languages are welcome if there is an English translation available." Prize: $25. Deadline: Opens October 1, 2024.

PEN America’s U.S. Writers Aid InitiativeRestrictions: Applicants must be professional writers based in the United States, and be able to demonstrate that this one-time grant will be meaningful in helping address a short-term emergency situation. Prize: Grant amount not specified. Deadline: October 1, 2024.

Stephen Fraser Encouragement Fund. “The Impact and Legacy Fund of SCBWI is thrilled to announce the establishment of a brand new grant program, the Stephen Fraser Encouragement Fund. Genre: Children's book. Prize: A $2,000 grant will be awarded to three children’s book authors, artists or translators who have traditionally published at least one book. Deadline: October 1, 2024.

Natan Notable Books AwardGenre: Recen­t­­ly pub­­lished or soon to be pub­lished nonfic­­tion book on Jew­ish themes. Prize: $5,000. Deadline: October 1, 2024.

The Glenna Luschei Prize for African Poetry, sponsored by the African Poetry Book Fund and in partnership with the literary journal, Prairie Schooner, is the only one of its kind in the world and was established to promote African poetry written in English or in translation and to recognize a significant book published each year by an African poet. A standard edition is 48 pages or more in length. Genre: Open to any book of original poetry, in English, published during 2015 in a standard edition by a full-length collection of poetry. Restrictions: African nationals, African residents, or poet of African parentage with roots from any country, living anywhere in the world. Prize: USD $5,000. Deadline: October 1, 2024.

Shaughnessy Cohen Award for Political WritingGenre: Book of literary nonfiction that captures a political subject of relevance to Canadian readers and has the potential to shape or influence thinking on contemporary Canadian political life. Book must be published in Canada. Prize: CAN $25,000.  Deadline: October 1, 2024. (For books published between April 1, 2024 and September 30, 2024)

Changes Book PrizeGenre: First or second collection of poems. Prize: $10,000 and publication, Deadline: October 1, 2024.

The Russell Freedman Award for Nonfiction for a Better WorldGenre: Any nonfiction book published for children or young adults, released between January 1 and December 31, 2024, is eligible. If both an author and illustrator are listed on the book cover, the prize will be split between them. Prize: $2500 plus $1000 to purchase copies of the winning book for distribution to schools and libraries. Deadline: October 1, 2024.

Money Chronicles: A Story InitiativeGenre: Short stories (fiction and creative nonfiction) touching on themes related to money and personal finance. Prize: The winner will receive a $1000 honorarium, and each finalist will also receive an honorarium of $150. Deadline: October 2, 2024.

American Antiquarian Society Fellowships for Creative Writers is calling for applications for visiting fellowships for historical research by creative and performing artists, writers, film makers, journalists, and other persons whose goals are to produce imaginative, non-formulaic works dealing with pre-twentieth-century American history. Successful applicants are those whose work is for the general public rather than for academic or educational audiences. The Society's goal in sponsoring this program is to multiply and improve the ways in which an understanding of history is communicated to the American people. Prize: A stipend of $1,150 to $1,350 and on-campus housing is provided; fellows residing off-campus receive $1,850. Deadline: October 5, 2024.

Furious FictionGenre: Flash fiction, 500 words max. "On each competition weekend, we’ll reveal a set of story prompts and you’ll have 55 hours to submit your best story of 500-words (or fewer)." Prize: $500AUD. DeadlineOctober 6, 2024.

The Furious Gazelle’s Halloween Writing ContestGenre: Halloween-themed poetry, fiction, short plays and creative non-fiction. Prize: $50. Deadline: October 6, 2024. (Unfortunately, the website lists a deadline date without the year. So this could be last year's contest deadline.) 

Neal Peirce Foundation Journalism Travel GrantsGenre: Journalism. "Grants are intended to support journalists in covering undertold stories about ways to make cities and their metro regions work better for all their people. Grants will cover travel expenses necessary for on-the-ground reporting. Full-time freelancers as well as journalists currently employed by a news organization are eligible to apply. The grants are for journalists to travel to cities within the U.S. to produce one or more stories for publication." Prize: Up to $1500. Deadline: October 7, 2024.

Quarterly West.  Genre: Poetry and prose. Prize: $500. DeadlineNo fee days: October 7 -8, 2024. (After that point, submissions for BIPOC writers only will remain free.)

Adina Talve-Goodman FellowshipRestrictions: Open to fiction writers aged 21+ who have not yet published a book and have never been enrolled in an MFA program. Writer must not have a book under contract with an agent and/or publisher at time of application, and writer cannot have been published by One Story (or have a forthcoming publication with One Story). Genre: Short fiction that "speaks to issues and experiences related to inhabiting bodies of difference." Prize: Free tuition for all of One Story's online classes and programming, a travel stipend of $2,000 and tuition to attend week-long summer writers' conference in Brooklyn, and a full manuscript review/consultation of a story collection or novel in progress with an executive editor. Deadline: October 9, 2024.

Welter: 60 Years, 60 Words Contest. Genre: "Give us 60 of your most provocative, compelling, relevant words." Prize: $60. Deadline: October 11, 2024.

North Carolina State Fiction ContestRestrictions: Open to residents of North Carolina with no published fiction books. Genre: Short stories. Prize: $500 for fiction (up to 5,000 words) and $250 for shorter fiction (up to 1,200 words). Deadline: October 12, 2024.

Apparition LitGenre: Speculative fiction; under 1,000 words. See theme. Prize: $30. Deadline: October 14, 2024. Opens October 1.

Waltham Forest Poetry CompetitionGenre: Poem on theme: FRIENDSHIP. Prize: 1st £50, 2nd £30, 3rd £20. Deadline: October 14, 2024. No entry fee for writers aged 18 and under.

Latino Voices in Children’s Literature Writing Contest. Restrictions: Open to Latino authors who are at least 18 years of age or older and residing anywhere in the United States. Genre: Children’s stories written by and about Latino people. Must be original children’s books for ages 0–4 (50–125 words) or for ages 4–8 (300–800 words). Prize: $1,000 cash prize. Deadline: October 14, 2024.

Amy Lowell Poetry Traveling ScholarshipRestrictions: Poet must be born in the United States.  Genre: Poetry. The sample must not exceed either (1) 40 typed pages or (2) one printed volume plus no more than 20 typed pages of your most recent work. There is no minimum page requirement.  Prize: $60,500 for a year of travel and study abroad. Deadline: October 15, 2024.

Peripheries Poetry PrizeGenre: Poem. Prize: $500 - $700. Deadline: October 15, 2024.

Cave Canem PrizeRestrictions: Open to Black writers of African descent. Genre: Poetry.  Prize: Winner receives $10,000, publication by Graywolf Press in Fall 2025, 15 copies of the book, and a feature reading with the judge presented by Cave Canem. Deadline: October 15, 2024.

Carol Shields Prize for FictionRestrictions: Books must be first edition English-language books written by a Canadian or American citizen or permanent resident of either country. Works written by women or non-binary authors are eligible for submission. The Prize welcomes and encourages submissions by transgender woman authors. Genre: Published novel, short story collection or graphic novel. Prize: $150,000 Canadian dollars. Deadline: Entries for books published between August 1, 2024 – December 31, 2024, must be received on or before October 16, 2024.

The Anisfield-Wolf Book Awards recognizes outstanding works that contribute to our understanding of racism and our appreciation of the rich diversity of human cultures. Awards are given for both fiction and nonfiction. Prize: $10,000. Deadline: October 16, 2024.

John Pollard Foundation International Poetry PrizeGenre: Published book of poems. Publishers may submit four copies of a debut full-length poetry collection (or bound galleys) published originally in the English language. Prize: €10,000 (approximately $11,400) Deadline: October 18, 2024.

Manchester Cathedral Poetry CompetitionGenre: Poetry. “We are looking for poems that capture the spirit of a certain place, its texture and histories, that consider water pollution in local/global environments and the damage done to our rivers, or which focus in on the grandeur of an old oak tree, aware of its subterranean network of roots and mycelial webs speaking to other organisms in the forest.” Prize: First prize £200, with £50 for second place, and £25 for third place. There will also be 10 highly commended poems with no financial remuneration. Entrants can be of any or no faith. No previous experience of creative writing or poetry required. All are welcome." Deadline: October 23, 2024.

Eye Contact Award in Genre Flash FictionGenre: Romance flash fiction, 1000 words max. Prize: $250. Deadline: October 25, 2024.

Zocalo Book PrizeGenre: US-published nonfiction book that best enhances our understanding of community and the forces that strengthen or undermine human connectedness and social cohesion. Prize: $10,000. Deadline: October 25, 2024.

The Marfield Prize, also known as the National Award for Arts Writing, is given annually by the Arts Club of Washington to nonfiction books about the arts written for a broad audience. Genre: Non-fiction book. Self-published books not accepted. Prize: $10,000. Deadline: October 27, 2024.

T Paulo Urcanse Prize For Literary ExcellenceGenre: Poetry and prose. " Whether you be a lonely writer looking for community and wanting to make your literary debut, or a similarly eggheaded and celebrated writer in the vein of the namesake of this prize, we welcome your submissions with open arms, without fees or prerequisites, without ever having known you or met you at a cocktail party where we discussed the terror of contemporary history and post-structuralist theory or the pitfalls of the first person perspective in a short story or weird childhood stories that involve stray cats and the throwing of tennis balls at moving vehicles from behind bushes at night in the summer on the Main Street of the provincial town where we were raised." Prize: $50 - $250. Deadline: October 28, 2024.

Storyhouse: Preservation Foundation Essay Contest for Unpublished WritersRestrictions: The contest is open to writers whose creative writing has never produced revenues of over $250 in any single year. First prize winners of previous contests, while ineligible for prizes in regular contests, can compete in this one.  Genre: Travel Nonfiction. Prize: First prize is $200. Runners-up will receive $100. Deadline: October 30, 2024.

Queer Adventurers LGBTQIA Writing ContestRestrictions; Open to any writer 18+ from anywhere in the world who identifies as LGBTQ+. Genre: 1,000 to 1,500 word personal essays on the theme of Border Crossings. Prize: $150. Deadline: October 31, 2024.

Apex Flash Fiction ContestGenre: Speculative fiction, 1000 words max. Prize: 8 cents/word or $10, which ever is greater. Deadline: October 31, 2024. Note: Apex Magazine’s Flash Fiction Contest is open from the 7th until the final day of each month. The contest is themed.

Toad Shade ZineGenre: Fiction art. See themePrize: $50. Deadline: October 31, 2024.

US Naval Institute Essay PrizeGenre: Essay. Length: 3,000 words max. Great power competition will require the Sea Services to rethink how to address national, strategic, and operational challenges and the way they will have to fight. Essays may address any topic. Prize: First Prize: $6000; Second Prize: $3000; Third Prize: $2000. Deadline: October 31, 2024.

Shady Grove LiteraryGenre: Any style, genre, tone of flash fiction. Length: 300 words max. Prize: $100. Deadline: October 31, 2024.

The Solstice PrizeRestrictions: Open to 7-17 year olds. Genre: Short stories, blog posts, and poems. Nature writing. Prize: Publication and cash prizes for winners in three age groups: 7-11, 12-14, and 15-17. Deadline: October 31, 2024.

Graybeal-Gowen Prize for Virginia PoetsRestrictions: Poets living in or born in Virginia, as well as those who have lived in Virginia for two or more years in the past, are eligible. Genre: Poetry. Prize: $1000. DeadlineOctober 31, 2024. (Closes after 500 submissions)

New York Historical Society Children's History Book PrizeGenre: Nonfiction history or historical fiction for middle-grade readers that was published in the US in the current calendar year. Prize: $10,000. Deadline: October 31, 2024.

Tom-Gallon Trust AwardRestrictions: Open to citizens of the United Kingdom, Commonwealth or the Republic of Ireland with at least one short story published or accepted for publication. Genre: Short story, maximum 5,000 words. May be unpublished. Prize: £2,000.00. Deadline: October 31, 2024.

The Eric Gregory AwardsRestrictions: Applicants must be under 30 and a British subject by birth and must ordinarily be resident in the United Kingdom or Northern Ireland. Genre: Poetry collection. Previously published work accepted. Prize: £4,000.00. Deadline: October 31, 2024.

Volcano Prize Restrictions: Open to a UK or Irish writer, or a writer currently resident in those countries. Genre: A novel focusing on the experience of travel away from home. Inspired by Malcolm Lowry’s novel, Under the Volcano and in celebration of its author, the prize aims to inspire literary excellence and encourage writers to travel and to write from the resulting experience. Publishers must enter the work. Prize: The winner will receive £2,000 and the runner-up £750. Deadline: October 31, 2024.

McKitterick PrizeRestrictions: Open to authors over age 40. Genre: First novel. The work must have been first published in the UK in the year in which the deadline falls (and not first published abroad), or be unpublished. Prize: £4,000.00. Deadline: October 31, 2024.

USNI General Prize Essay ContestGenre: Essay may be on any topic. "We are living in an era of intense global competition. Renewed great power competition will require the Sea Services to rethink how to address national, strategic, and operational challenges and the way they will have to fight. Authors may address any topic." Prize: $6,000. Deadline: October 31, 2024.

ACDI Literary PrizeRestrictions: Open to authors with a disability and/or chronic illness. Authors must be a British national OR resident in Great Britain and Northern Ireland for three years prior to the date of submission for the award, and writing in English and submissions must have been published or self-published in the UK. Genre: Novel which includes a disabled or chronically ill character or characters. Prize: Winner will receive £1,000 and two runners-up £500 each. Deadline: October 31, 2024.

Drinking Gourd Chapbook Poetry PrizeRestrictions: Open to poets of color with US citizenship who have not previously published a book-length volume of poetry. Genre: Poetry chapbook. Prize: $500, publication by Northwestern University Press, fifteen copies of the book, and a featured reading at The Poetry Foundation.. DeadlineOctober 31, 2024.

Writers & Artists Working-Class Writers' PrizeRestrictions: Open to unagented and uncontracted UK or Republic of Ireland residents age 18+ who self-identify as a writer from a working-class background. Genre: Unpublished work-in-progress. Prize: 200 pounds prize, mentoring sessions, networking event opportunities, a complimentary one-year membership to The Society of Authors, and various Bloomsbury books. Deadline: October 31, 2024.

The Young Walter Scott PrizeRestrictions: Open to UK authors aged 11-19. Genre: Historical fiction between 800 and 2000 words. Prizes: £500 travel and research grant to further explore historical places in the UK, and an invitation to the Borders Book Festival in Melrose, Scotland. Two runners-up in each category receive a £100 book token, and all four winning stories are published in a special YWSP anthology book. Deadline: October 31, 2024.

The Nancy Thorp Poetry Contest is sponsored by Hollins University. Restrictions: Open to young women who are sophomores or juniors in high school or preparatory school. Genre: Poetry. Prize: Up to $5,000 renewable annual Creative Talent Scholarship in creative writing if winner enrolls at Hollins. Free tuition and housing for the university’s Hollins summer creative writing program. $200 cash prize. Publication in Cargoes, Hollins’ award-winning student literary magazine. Ten copies of Cargoes. Deadline: October 31, 2024.

Rattle Ekphrastic ChallengeGenre: Poem inspired by artwork. (See site for image.) Prize: $100. Deadline: October 31, 2024. This is a monthly contest.

Substack runs a monthly short story competition. Their mission is to "revive the art of the short story, support artists, and produce something wonderful." Genre: Short story. Length: 6000- 10,000 words. Prize: $100 plus 50% of subscription revenue to be sent by Paypal, Zelle, or check. Deadline: October 31, 2024. Reprints are ok so long as you still have the rights to distribute.

Lex:lead Essay CompetitionRestrictions: Candidates must show citizenship in an eligible country and be enrolled in studies with at least one law class in an eligible country at the time of the award. Genre: Essay: How can laws regulating climate change and the environment support economic development? Prize: $500 scholarship. Deadline: December 31, 2024. (Registration deadline October 31, 2024)

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