The School Magazine has been around since 1916 so they are obviously good at what they do. They accept poetry and prose for ages 7-14 and from ANYWHERE in the WORLD. They also accept work from illustrators and also for Comic Serials
Check out their Submission Guidelines. The pay really well too
Reblogged from Cindi Myers
Originally posted on Cindi Myers Market News's Blog:
“After nourishment, shelter and companionship, stories are the thing we need most in the world.” Philip Pullman
Rocky Mountain Rescue is on sale in stores and online now!
Eggplant Literary Productions is looking for speculative fiction treatments of traditional fairy tales for upcoming anthologies for both children and adults. Your story should feature diverse and marginalized characters and may include non-North American and non-Western European settings. Stories for children 8-12 should be no longer than 2,500 words, while stories for adults may be up to 5,000 words. Eggplant Literary pays five cents a word for stories. The deadline for submissions is April 30, 2014. Read the guidelines here.
Shades of Romance, an online magazine for readers and writers, pays $25 for romantic short stories, 500 to 1,500 words, in any romantic sub-genre. Shades of Romance also accepts articles on the craft and business of…
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I found this tip sheet when I was browsing the Peter Cowan 600 competition. I have linked to it in the blog but decided to include it separately for those who might not read to the end
2014 PETER COWAN SHORT STORY COMPETITION LAUNCH
Question responses provided by Dr Susan Midalia, 2014 PCWC Writer-in-Residence
and author of An Unknown Sky and
1. Why do you think competitions such as the Peter Cowan 600 Short Story Competition are important for the writing community in general?
A word limit of 600 words is very useful for writers for a number of reasons. Firstly, it disciplines them to think very carefully about their linguistic choices. Regardless of the genre, a writer must try to ensure that every word is necessary, and exactly the right one, in order to achieve the meanings and effects they’re aiming for. Secondly, a 600-word limit encourages writers to see the value of compression: to understand the ways in which complex meanings can be suggested in relatively few words. Finally, the word limit encourages writers to make use of what it not said: the unspoken, the implied, the repressed, the silenced, of which every life is constituted.
2. Why is entering the Peter Cowan 600SS competition important for new and emerging writers including university writing students?
The 600-word limit is particularly useful for relatively inexperienced writers because it can help to eliminate one of the biggest problems for novices: the tendency to overwrite. Overwriting – what’s usually called purple prose – is writing that’s heavily adjectival or verbose; language that tends to be chosen to display the writer’s extensive vocabulary instead of communicating an experience. It suggests a kind of insecurity or anxiety about writing, and an inability to recognise that often plain or pared-back language can be used in very engaging ways. In short, a 600-word limit encourages new writers to see the value of linguistic restraint and subtlety. Secondly, the 600-word limit helps new writers to improve their self-editing skills. When they re-read their story, they need to ask themselves: do I really need that sentence? Is that particular adjective necessary? Would a different word make an important change to the kinds of effects I’m aiming to achieve? So the word limit makes writers look very closely at what they’ve written, to be ruthlessly self-critical.
3. The competition is also open to experienced writers. Is this type of competition also valuable for experienced writers?
Certainly. Even experienced writers need to be reminded of the importance of those ideas and suggestions I’ve described. It’s also a whole lot of fun to be challenged in this way: to write an engaging and memorable story in only 600 words is hard work for experienced writers as well. One of my favourite short story writers, the American writer Lydia Davis, has written some wonderfully resonant stories that consist of only a few sentences or one brief paragraph. Try, for example, her dystopian short story “Smoke.”
4. Peter Cowan was an accomplished short story writer. He published several volumes of short fiction and won several major literary awards. What do you think are the main tips that writers entering the competition need to consider when compiling their short story entries?
My first tip is to ask yourself why you needed to write a particular story. Why did it matter to you to try to put an experience into words? Because if you can’t answer that question – if you don’t know why it matters – then it probably won’t matter to a reader either. Secondly, try to eliminate flaws in your story. This includes getting rid of clichés, mixed metaphors and inadvertent repetitions, all of which writers are prone to and which they don’t always notice when they’re writing. Thirdly, read your story aloud. You will hear what works and doesn’t. The rhythms of sentences, for example: whether a sentence “sings” or is clunky. You will hear the overall shape of a paragraph and of the story as a whole: whether certain sections need to be extended or shortened, or left out entirely. You will hear inadvertent repetitions. You will hear the unnecessary use of words like ‘and’, ‘the’ and ‘that’, the overuse of which can ruin the rhythm of a sentence. A final tip is to let your story “sit” for a while. Don’t send it to a competition as soon as you’ve finished it, but leave it for a few days, a few weeks, and then re-read it, because you’ll always find ways to improve it. As the writer Ernest Hemingway observed, and if I may be permitted a vulgarism: “The first draft of anything is shit.” Intelligent and rigorous self-editing is a crucial part of the writing process.
5. What do you think is the essence of writing a great 600-word short story?
a. Every word must be necessary to the overall meanings and effects a writer wishes to achieve.
b. Compression: suggesting a range of meanings in relatively few words. In this way, a story can be both economical and evocative, concise and resonant.
c. Being restrained; respecting your reader’s intelligence. In other words, don’t tell your readers what to think, but allow them the pleasure and the challenge of working it out for themselves. A writer can suggest her/his meaning by using, for example, symbolism or imagery; by describing the appearance of a character or setting; by drawing on the sounds of words or the musical properties of language; by using figurative language, that is, making unusual or striking comparisons.
d. An engaging short story also often has a strong sense of voice or tone. This means that the point of view from which you choose to narrate a story is crucial.
6. The competition is now in its fifth year and is growing in popularity with the writing community throughout Australia. Why do you think short story competitions are flourishing within the Australian writing community?
I think it’s partly because these days many people are time-poor. They simply don’t have the time, or the mental energy, to write a longer piece, but they still want to experience the pleasure of creating something from nothing, of giving shape to and communicating an experience.
Winning a prize or place in a competition also looks good on your writing CV. It’s a way of gaining a readership and getting yourself noticed by publishers.
More experienced writers especially love the challenge of writing a good short story, because they understand that it’s aesthetically exacting task. It’s fun, but it’s also damned hard work to write a story that creates the illusion of a bigger world beyond the relatively few words on the page. A story that can leave readers thinking about it long after they’ve read it. A story that a reader can return to and find something new each time.
7. You are facilitating a workshop for the centre in March. Can you tell me a little bit more about the focus of this workshop?
The workshop is 3 hours long –with a break for tea and Tim Tams, of course – and it’s open to both new and more experienced writers.
In terms of content, we’ll be covering what you might call the “big picture” issues involved in writing short stories. These are the four narrative conventions: point of view, characterisation, setting and structure. I would like people to get some sense of the different ways in which these four elements can and have been used. In the process, we’ll also be working on how to use language imaginatively, creatively, intelligently; language that will encourage readers to think and to feel, both while they’re reading and for some time afterwards.
In terms of process or procedure, the workshop will combine tips and advice from me with a discussion of sample pieces of good writing by well-known writers. The aim is to help participants understand what makes for a “good” or publishable story. Importantly, too, there will be plenty of opportunity for participants to do short writing exercises on the spot, and to get feedback on what they’ve written in a constructive and supportive environment. I also want to reassure people that they mustn’t feel obliged to read out every effort; I understand that writing on the spot is a rather artificial exercise, and we might not always be pleased with what we manage to produce in these circumstances. But I would encourage every one to “have a go” at some point and to be open to advice for improvement.
And I won’t forget to have some fun! Because if we’re not enjoying the process, we probably won’t learn much at all.
The 2014 Peter Cowan 600 Short Story Competition is now open for entries! Entries close 11 April 2014
The 2014 Peter Cowan 600 Short Story Competition is now open for entries! The competition is in recognition of the centre’s namesake, Peter Cowan (1914-2002), an eminent short story writer, novelist, and academic. Peter Cowan was best known for writing in the short story genre with eight published anthologies of short stories. He also wrote a biography on his grandmother, Dame Edith Cowan, entitled A Unique Position; became a Member of the Order of Australia in 1987; and was named a WA State Living Treasure in 1999.
This year, in addition to the Open Award category and major prizes/certificates, Peter Cowan Writers’ Centre Inc has introduced a new award category for youth aged 12 to 17 years: The Julian Cowan Youth Award of $100. This award is donated by Mrs Diana Cowan.
The Judge for the competition changes every year and will be announced after the closing date for entries.
Entrants are reminded that you must adhere to all Rules of Entry otherwise your entry will be disqualified.
Entrants may submit up to five short stories with a maximum word limit of 600 words per short story.
Word limit: maximum of 600 words per short story
Age:Open Category:for writers over 18 years of age
Youth Category: for writers 12-17 years of age
Entry fees: $10 per entry, or $20 for three entries, or $30 for five entries
Prizes: Open Category
1st prize $200 2nd prize $100 3rd prize $50
Plus four x Highly Commended certificates
and four x Commended certificates
Julian Cowan Youth Award (12-17 years): $100
Closing Date: Entries MUST be post-marked by Australia Post by 11 April 2014
Hints and tips for short story writing are available to download from the link below. These are provided courtesy of Dr Susan Midalia, the PCWC 2014 Writer-in-Residence and one of our workshop facilitators. Susan has two short story publications, an Unknown Sky (short-listed for the Steele-Rudd Award and long-listed for the Frank O’Connor International Short Story Competition), and The History of the Bean Bag (short-listed for the Western Australian Premier’s Book Awards).
The competition flyer, Rules of Entry and Registration form may be downloaded via the following links:
Celapene Press invites entries for the 2014 Charlotte Duncan Award for a short story for young readers aged 9-12 years.
This award was established in 2009 in memory of Charlotte Duncan. All profits go to Newborn Intensive Care Unit at Melbourne’s Royal Children’s Hospital.
Closing date is April 30th 2014.
Writers you have two months to get your short story to the guys at Bristol. You don’t have to be from the UK to enter, anyone over the age of 16 can submit.
2014 Bristol Short Story Prize Rules
Please read the rules carefully before entering.
1. Closing date for receipt of entries is 30th April 2014 at midnight BST.
2. Entrants must be over 16 years old on the closing date, 30th April 2014.
3. The maximum length of submissions is 4,000 words (does not include title), there is no minimum length. Stories can be on any theme or subject and are welcome in any style including graphic, verse or genre-based (Crime, Science Fiction, Fantasy, Historical, Romance, Children’s etc..) .
4. Entries can be made online or by post. There is no geographical restriction on entry- the Bristol Short Story Prize is open to everyone, whether they are based in the UK or outside the UK. All entries should be in English. Online entries should be submitted via the online entry facility, usually in Word document, pdf or equivalent. Postal entries will only be accepted as printed typescripts. There are no specific formatting requirements – font type, font size, line spacing etc.. Writers may format their work in the way they feel is most appropriate. Please send postal entry/entries to : Bristol Short Story Prize, Unit 5.16, Paintworks, Bath Road Bristol BS4 3EH
5. Authors may enter as many stories as they like. There is an entry fee of £8 for each story submitted. Payment for online entries should be made via the website. Payment for postal entries should be made by cheque. Cheque payments must be in pounds sterling and cheques should be made payable to ‘Bristol Short Story Prize Ltd.’. Each postal submission must be accompanied by an entry form.
6. Entries will not be returned. Please keep a copy. No corrections or alterations can be made after receipt.
7. Entries must be entirely the work of the entrant and must never have been previously published, in print or online (including websites, blogs, social network sites), or broadcast or won or been shortlisted in another writing competition. Any entry found to have been plagiarised will be disqualified. Simultaneous submissions are welcome – but please let us know as soon as possible if a story is to be published elsewhere or has won a prize or been shortlisted in another writing competition.
8. Entries will be read and judged anonymously; entrants names and contact details should only appear on the entry form and not anywhere on their stories/manuscripts. The stories/manuscripts must be free of all personal information about the author. This includes age and address.
9. If you require acknowledgement of receipt of your postal entry then please enclose a stamped addressed postcard marked ACKNOWLEDGEMENT. Online entries will be acknowledged by email.
10. All entrants must agree to have their work published in the Bristol Short Story Prize Anthology Volume 7, in both print and ebook formats, should they be the author of one of the 20 shortlisted stories. Authors will retain worldwide copyright on their work (including film and dramatic rights) but Bristol Short Story Prize has first publication rights to publish the 20 shortlisted stories in the Bristol Short Story Prize Anthology Volume 7, in both print and ebook formats.
11. Each of the shortlisted authors will receive 2 free copies of the paperback version of Bristol Short Story Prize Anthology Volume 7 and will be able to purchase further copies at a discount of 50%. Any profit from the sale of the BSSP Anthology Vol. 7 will go towards developing ShortStoryVille events, our schools’ projects and funding help for the Bristol Review of Books.
12. No competitor may win more than one prize. Entries will be read by a panel of professional publishers, reviewers and published writers. They will select a longlist of 40 for the judging panel. The judging panel will select the 20 stories to be published in the Bristol Short Story Prize Anthology Volume 7 and the top 3 prize winning stories. The judges decision is final and no individual correspondence will be entered into. Judges or readers will not comment on individual stories or give feedback on individual stories.
13. Prizes for 2014 are: 1st-£1000 plus £150 Waterstone’s Gift Card, 2nd -£700 plus £100 Waterstone’s Gift Card, 3rd -£400 plus £100 Waterstone’s Gift Card. Each of the 17 remaining shortlisted finalists will receive £100.
14. Prizes will be awarded at the 2014 Bristol Short Story Prize Awards Ceremony in October 2014 and will be sent to any of the 20 finalists who are unable to attend the awards ceremony. Prizes are not dependent on winners attending the 2014 Bristol Short Story Prize Awards Ceremony. Entrants will not be contacted individually about the competition results unless they are selected for the shortlist. The 2014 longlist and shortlist will be announced on the BSSP website. The longlist will be posted on the BSSP website on Wednesday 16th July 2014 at 2pm (BST) and the shortlist will be posted on the BSSP website on 30th July 2014 at 2pm (BST). The top 3 prize-winners will be displayed on the website within one week after the awards ceremony.
15. Any entrant wishing to withdraw a story from the competition before the closing date of midnight (BST) 30th April 2014 will receive a full refund. Please contact us by email. We will not be able to refund any withdrawn stories after the closing date of midnight (BST) 30th April 2014. . .
16. Entry implies an acceptance of all the Bristol Short Story Prize rules. Entries that fail to comply with the entry rules and requirements may be disqualified.
I found these two sites which accept short story fiction. The Fiction Desk publishes four anthologies per year. Check out their submission guidelines. They also have two competitions coming up. A flash fiction and a ghost story competition.
The other site is Strange Horizons They accept art, reviews, poetry, fiction and non-fiction. Check out their guidelines. They also promise a response within 40 days. I’ve just submitted to Strange Horizons so fingers crossed.
1st prize: £2,000
2nd prize: £500
3rd prize: £250
Three other finalists each receive £100
Judge: Jane Rogers
Jane Rogers has has published eight novels, including The Voyage Home and Island, and written original television and radio drama. She was shortlisted in the BBC National Short Story Competition in 2009 and has, amongst others, received an award for Writers’ Guild Best Fiction Book and a BAFTA nomination for best drama serial. Jane also works as an editor in new writing anthologies, and is a Professor of Writing on the Sheffield Hallam MA course.
Closing date: 17 March 2014
All winning stories will be published in the Jun/Jul/Aug 2014 edition of Mslexia