What are Entropy editors looking for in 2018? Here’s your section-by section guide to the kind of submissions we’re hoping to publish in the new year. Static submission guidelines can always be found here, as well as on our current calls for submissions page. Thanks for considering us as a home for your work!
Editor: Adrienne Walser
What do you publish? A conversation with a filmmaker. An interview with a playwright. A reflection on a performance art piece. A discussion on a musician or composer. An essay about the implications of language. An essay about the queer body. An essay on economic issues regarding art-making and artistic production. A meditation on a cultural issue around race. A gender critique of an exhibit. A conversation between a curator, poet, sculptor, dancer, activist, or organizer. A personal meditation on a favorite piece of writing, music, or art. A deliberation on the ethics of cultural work. An exploration of local architecture–a building, bridge, or space. A history of a public art-work. A piece on arts education and public schools. A piece on an arts organization or political collective. An analysis of an art trend or a cultural phenomenon. A creative interaction with a sculpture, piece of music, work of art, or a performance.
What would you like to see more of? All of these!
How to send a submission: Email email@example.com.
Editor: Joe Milazzo
What do you publish? Questionnaires / author Q&As. Examples: “Look at grace head on and it was never there: A Conversation with Paul Cohen,” “Cleanse, attend, recalibrate: A Conversation with Ben and Sandra Doller,” and “A kind of intelligence that refuses to act smarter than its life: A Conversation with Ed Pavlić”.
What would you like to see more of? More experimental prose, more first-time authors, more diversity (demographic, aesthetic, and otherwise).
How to send a submission: Send me information about your book via email: firstname.lastname@example.org.
Editor: August Evans
What do you publish? Sleek, dark literary humor.
What would you like to see more of? We would like to see less purely personal pieces and more funny works addressing the freakish collective landscape (political/cultural) of these times.
How to send a submission: Please send stories, poems, and hybrids of sleek, dark humor to email@example.com.
Editor: Laura Vena
What do you publish? For the Fiction section of Entropy, we are looking for previously unpublished works of fiction. We are most keenly interested in fictional works that represent a diversity of voices, cultures, identities, expressions, and aesthetics, and those in line with the mission of Entropy to maintain a safe and supportive community of readers and writers.
How to send a submission: Please email your previously unpublished fiction submission to firstname.lastname@example.org. Please be patient, as we often have a tremendous number of submissions to read through. Although we try to respond to all correspondence, we apologize if we are unable to respond to every submission. If you haven’t heard from us in 6 weeks, please assume we are passing on your piece. Thank you.
Editor: Stephanie Tsank
What do you publish? Mostly creative nonfiction and memoir, interviews (specifically the series Dinnerview by Danielle Susi, where writers talk about their food habits), cookbook reviews, recipes, poetry.
What would you like to see more of? In early 2018, I’ll be putting out a CFP for cooking origin stories, that is—how did you learn to cook (or perhaps you never did), who taught you, what was the first dish you ever cooked and was it a success or a disaster? My first real cooked dish (chicken soup) involved scalding myself with hot chicken water, so, it was memorable….I’m also interested in seeing more food writing from men and (always) writers with diverse backgrounds. White women seem to dominate cooking narratives (which is unsurprising for many reasons), and I’d like to cultivate more diversity in the section. Also, cookbook reviews! We’re going to be doing a lot more cookbook reviews in 2018, so if you’d like to write one, email me and I’ll get you a review copy.
How to send a submission: Email email@example.com.
Editor: Vanessa Baish
What do you publish? Writing about/around/involving gestures, literal or metaphorical.
What would you like to see more of? I would like to see more writing that pushes at the boundaries of (verbal?) intelligibility. More handwriting or mark-making that veers from language to image and back.
How to send a submission: Email me at firstname.lastname@example.org. I can be a little slow sometimes, but I am always interested in what you’re sending.
Full submission guidelines can be found here.
Editor: Beach Sloth
What do you publish? I publish any sort of musing related to music. My guidelines are fairly loose—I am looking for something highly unique, touching upon elements of music that normally get overlooked.
What would you like to see more of? Honestly, I would like to see more submissions from younger readers. For whatever reason, the submissions I receive tend to be on the older side of things. My hope would be that newer, more recent music would get priority over the crate-digging I often see.
How to send a submission: Anybody can send an email to email@example.com.
Editors: Sara Finnerty and Sylvia Chan
What would you like to see more of?
Sara: I’d like to see more essays that use personal experience as a lens to a universal theme. More lyric and hybrid essays that experiment with form. I’m less interested in superbly organized essays in an academic voice, more interested in urgent essays, unusual stories or mundane stories told in unusual sentences. I love simple, plain language, and writing that is accessible. I’d like to see more writing from other countries—I don’t really care how well your command of English is. I want to see writing that is about your parents or grandparents, I want to see writing from parents, grandparents, great grandparents. I love braided essays, and fragmented essays, and deep dives into the sea, or animals, or hurricanes, or trees, or history, or invisible worlds, addiction, children, ancestors, loneliness, hope and magic. But I am open to all subject matter, all lengths, though I think we’d like to ideally keep essays under 8,000 words.
Sylvia: I admire voices which are unafraid to speak. In terms of gut and intuition, it’s that simple. In terms of craft, that means you do the right amount of telling and showing; you make visceral your successes, failures, heartbreaks, and hopes; you give yourself the care and attention of proofreading and editing; you let go.
I would like to see more of what shows you are unwilling to compromise yourself for the sake of publication. If you belong with Entropy, your work will do this. If you write to placate what kind of reader you believe us to be—literary, not literary, female, nonprofits, foster care, young people, and so on—you will not be happy with us. We do not publish writing which does not make us pay attention or those which denigrate others to make their points. What makes your writing unique and compelling? Even if you’re writing on the same subject as *everyone* else, you need to expose your specific and unique insights as it redefines your experiences. That’s what makes the essay new.
Be unafraid to uphold your faults, dreams, and darknesses. We love heart. Although that doesn’t mean give us your melodramatic heartstrings on a plate, it means dispense with the rules, the critics, your criticisms. Own yourself. After all, who are we to question your voice?
What do you agree on, disagree on, and talk about as editors?
Admittedly, we often agree. We are two different editors with two different aesthetics, so it is amazing that we have little to no disagreement on pieces we publish. We respect and trust each other’s decisions, meaning we are attracted to same and different writings, and we allow each other to work it out.
Sara has worked at nonprofit programs that serve homeless teenagers, girls deemed by their school counselors as girls with behavioral issues, and students in underserved schools. Currently, she freelances, writes marketing copy, and raises a toddler. Sylvia has performed as a jazz pianist in the San Francisco East Bay Area. Currently, she teaches in the Writing Program at the University of Arizona and serves as a docent for the UA Poetry Center and court appointed advocate for foster kids in Pima County. These are the humans reading your writings. If you take one thing away from what to send to us, it is that your writing uphold a compassion which aims to do what essays do—connect us to each other.
How to send a submission:
Submit your nonfiction to both Sara Finnerty and Sylvia Chan at firstname.lastname@example.org. If we like what we see, you will hear from one of us. If you get a high tier rejection—a personalized no, with perhaps a suggestion from one or both of us—please take time to work through it. Or dispense with it and work on something else—and resubmit. We love seeing resubmitters reach out to us, and even more when we can celebrate their successes if we publish them.
Please note a simultaneous submission. Let us know if it is accepted elsewhere: we are happy for you and hope you consider submitting to us again. We do not accept pitches—send your writing when you are ready.
In addition to editing nonfiction, Sara curates the “On Weather” series and Sylvia publishes the Literacy Narrative series. Although you may submit or contact us individually for these series, know that if you submit to the general nonfiction account, your piece will also be considered for “On Weather” and Literacy Narrative.
Finally, we are looking for new horizons! Sara is working on an elderly series and promotion of youth writings and Sylvia aims to debut a foster care series this year. We are excited and can’t wait to provide more platforms for you to read, think, laugh, cry, and, most importantly, to speak.
Editor: Linda Michel-Cassidy
What do you publish? Reviews, interviews, and essays about podcasts.
What would you like to see more of? I’d love to see critical reviews of political podcasts, reviews that veer towards personal essay, and any kind of coverage of podcasts produced outside of the US.
How to send a submission: Send queries, essays and reviews to email@example.com. Please query first for interviews.
Editor: Michelle Detorie
What do you publish? Poetry—broadly defined.
What would you like to see more of? More submissions from women & non-binary writers. More submissions from POC. Also interested in visual and multi-media poetry, as well as the work of student writers and poetry in translation.
How to send a submission: Please send a friendly number of poems to firstname.lastname@example.org. Please put your name and “poetry submission” in the subject field.
Special call for submissions—ZODIAC POETICS: Zodiac Poetics is a series at Entropy Magazine curated by poetry editor Michelle Detorie. Throughout the year, this series features work from writers and artists who have significant planetary energy (sun, moon, rising, stelliums) in the zodiac sign of the season. I’m especially interested in poems that #resist & support the vital metabolism of dreaming/grieving/connecting across/through these terrestrial curves and surfaces.
To submit to Zodiac Poetics, please send a friendly number of pieces to email@example.com. Please put the zodiac sign for which you are submitting work in the subject of the email.
Editor: Justin Carter
What do you publish? Reviews of contemporary works of literature.
What would you like to see more of? I’d love to see longer reviews/essays about contemporary literature. I’d also love to see more reviews of and reviews by writers of color.
How to send a submission: Email me: firstname.lastname@example.org.
Editor: Byron Alexander Campbell
What do you publish? There are three notable series in the tabletop games section currently: Session Report, my series that explores the intersection of tabletop game design and narrative; Playing Detective, Chris Holly’s (unfortunately DOA) series that explores detective fiction in tabletop and old-school PC games; and Dungeons Mastered, Tyler Crumrine’s series on tabletop roleplaying games and supplements. I also publish reviews, articles from designers and publishers, and essays about the art of Magic: The Gathering.
What would you like to see more of? I’d love to see a lot more of everything. I want to see more series helmed by informed writers with strong voices, like Chris and Tyler. And I can’t speak for them, but the Session Report series is open to contributions from other writers who want to play in the same space. I want to see more diverse voices and perspectives. I want to hear more from writers who have been inspired in their craft by games, and I want to hear from designers and publishers who are experimenting in narrative spaces. But really, I’d just love to hear more voices, period.
How to send a submission: Email it to me! At email@example.com. Finished pieces are better; I’m less likely to publish something based on a pitch alone.
Editor: Dennis James Sweeney
What do you publish? The seasonal (formerly bi-monthly) Where to Submit posts. In 2018 they will come out on March 1 (for spring), June 1 (for summer), September 1 (for fall), and December 1 (for winter).
What would you like to see more of? I am happy to feature calls for submissions from any small press, literary magazines, fellowship opportunity, or residency that resonates with the goals of the Entropy community. I’m most interested in listing those opportunities that don’t cost submitters a lot of money.
How to send a submission: Email firstname.lastname@example.org with the information for your opportunity formatted as it would be on the Where to Submit post, including a link. Please email at least a week before the post you wish to be included on is released (see dates above).
Additional Opportunities from our Calls for Submissions Page:
An invitation for writing and personal stories relating to birds. Stories involving loss, being lost, stories involving birds, changing relationships to writing and being written, to writing practice, to self, to the sky. Submissions of personal and poetic essays related to the birds. Essays on birds, a bird, a particular species of bird, all birds, your bird.
Please email submissions directly to: email@example.com.
See the series so far: The Birds.
A call for submissions. All poems submitted will be included. Because one yet wants to believe that poetry can still be about the catastrophe and beauty of one’s own heart, and the generous giving away of those words to another.
If the world were to end next week, what is the final poem you write, the final poem you give away generously, treacherously, genuinely, fearfully, necessarily, beautifully?
That tomorrow it may very well all end, and we would know to bear the pain as the day rose and broke.
That the present is undying yet death awaits us all.
That words can still connect and touch, that we still know how to offer to others a piece of our soul.
That space yet expands and we know when to keep breathing and when to stop.
That poetry can yet be given and received, from one human being to another.
Send your #finalpoems to firstname.lastname@example.org to be published until the world ends, at Enclave.
See the series so far: #FINALPOEMS.
The substance of cinema is therefore an endless long take, as is reality to our senses for as long as we are able to see and feel (a long take that ends with the end of our lives); and this long take is nothing but the reproduction of the language of reality. In other words it is the reproduction of the present.
— Pier Paolo Pasolini, “Observations On the Long Take”
Please submit writings, essays, musings, reflections, fictional vignettes, responses, or other texts written about or through a filmic long take. #LONGTAKE
It is fall and I am looking for mini-syllabi or reading lists on any topic. A mini-syllabus might consist of a brief description or introduction to the topic and a short reading list that gathers stories, texts, and/or films related to that category or topic. Other topics might include pigs, polar bears, virtual reality, Peruvian literature, Scandinavian literature, translation, eco-poetry, insect poetics, food, slowness, capitalism, water, Muppets, pop culture, whiskey, Japanese feminist poetry, summer solstice, zodiac poetry, clocks, video games, asemic writing, trees, the Singularity, South African history, plastic, the apocalypse, sunsets, the color blue, heat, Texas, floods, montage, human evolution, heartbreak, black holes, birds, sculpture, the alphabet, road trips, etc, etc, etc.
Submit a short description and reading list of 5-12 texts/films/books to share with others.
The New Comics
A feature that looks to shed a light on emerging awesomeness in comics and sequential art, alongside interviews with creators. If you’ve been published before or if you haven’t, if it’s an excerpt from your first graphic novel or an excerpt from your sketchpad, if it’s got panels and drawings and word balloons and we can talk shop about it, then we want to hear from you.
Please email submissions directly to: email@example.com.
See the series so far: The New Comics.
Privilege & Identity Abroad Writing Contest
Brought to you by Entropy Magazine & InterAction Initiative Inc.
Describe a time when one of your privileges surfaced during your abroad experiences. In what moments did you hold power in these spaces? How and why did you realize your privilege in this instance and what did you do about it? How were you aware of your national identity, gender, race, etc. in contrast to where you were?
Deadline: January 15, 2018