Great excitement in the kennels, as we announce TWO new anthologies of weird fiction opening for submissions this year and due in 2024 from Belanger Books. Both are being edited by John Linwood Grant, whose previous editorial work for Belanger includes four volumes in the popular Sherlock Holmes & the Occult Detectives anthology series, and The Book of Carnacki.
The short version is that Alone on the Borderland: Tales of Edwardian Dread will open for submissions on 1 February 2023. A Darker Continent: Strange Tales of Europe at War will NOT open until 2 April 2023, and earlier submissions are unlikely to be read. Detailed guidelines for both are given in separate sections below. PLEASE READ THE GUIDELINES CAREFULLY. They exist to encourage submissions which are already, to some degree or other, a fit with what we’re seeking in the final anthology, and thus to help you. If you follow them, you are FAR more likely to have your story shortlisted. If you don’t follow them, well, we did warn you…
ALONE ON THE BORDERLAND
Tales of Edwardian Dread
SUBMISSION PERIOD: 1 FEBRUARY 2023 – 30 JUNE 2023 inclusive. GMT.
CORE CONCEPT: An anthology of new weird and strange fiction set between 1901 and 1919 – from the death of Queen Victoria to the immediate aftermath of the Great War and the Spanish Influenza epidemic. Weird fiction is a mode of writing which includes the subversion of many standard tropes, or more imaginative interpretations, and has a strong psychological component, so please bear that in mind.
“There are millions and millions and millions… with their lives, their hopes and fears, their suffering and chance of happiness, all intertwined with our lives, and what we think and say and do. We don’t live alone. We are members of one body. We are responsible for each other. And I tell you that the time will soon come when, if men will not learn that lesson, then they well be taught it in fire and bloody and anguish.”
An Inspector Calls, J B Priestley (set in 1912)
SETTING: The broad Edwardian period was a time of huge changes in society, including developments in science, religion, psychiatry, suffrage, class roles, labour, and the nature of warfare. Consider desperate attempts to cling to outdated ‘Victorian’ values, or a blind rejection of change — even an eager embrace of new concepts, with worrying results. Consider the worm inside this last ‘summer’ apple of grand houses and disenfranchised masses in Britain; remember the industrialisation of Japan and the growing revolutions in Russia. Hint at war to come, if you wish, or explore the weird through a war which changed many societies forever (please note, though, this is NOT a book of war stories, just that the setting may be relevant for a few.) Stories may occur anywhere in the world as long as the events fall within this period — do not feel confined to Western Europe.
You might also find this short piece by Lucy Burgess relevant in terms of broad background:
https://www.historic-uk.com/CultureUK/Edwardian-Literature/
APPROACH: In specifying ‘weird and strange fiction’, we are seeking stories which are disquieting and disturbing — tales of troubled minds and disjointed or illogical events. The psychological, the ab-natural, and even outright horror, but not blunt gore or shock horror. We are certainly interested in Cosmic Horror — the realisation that we are potentially insignificant in the cosmos, that our understanding of the world around us may be at best partially, and even entirely, wrong. Some aspects of Folk Horror — the insidious blend of landscape and isolation — may also work. Try to be original in your voice where possible, rather than employing simply pastiche.
As H P Lovecraft’s themes and the subsequently developed ‘Cthulhu Mythos’ are obviously a major element of weird fiction and Cosmic Horror in literary history, Mythos-adjacent stories are welcome, but we do NOT want stories simply of Mythos monsters raging around. References to or derivations from the Mythos, if used, should be subtle — go for mood and philosophic dread. Think more ‘The King in Yellow’, ‘The House on the Borderland’ and ‘The Yellow Wallpaper’ than ‘Call of Cthulhu’, more Algernon Blackwood in weird ‘tone’ than August Derleth.
Subtle and insidious would be good watch-words. If you’re interested in matters Hodgsonian, which are relevant to the background of this anthology and to the roots of weird fiction, there’s a partial index of articles and snippets we’ve published here:
http://greydogtales.com/blog/william-hope-hodgson-the-secret-index/
WHAT WE DON’T WANT: We do NOT want the usual vampires, zombies, werewolves, or tentacles and mad cultists, nor do we want simplistic period ghost stories. NO glorifications of war; no espousing Imperialism or colonialism. No steampunk, or alternative histories — twist the existing historical world to disturb us. Time travel will be a hard sell. No Sherlock Holmes or Thomas Carnacki for this particular volume, please. And absolutely NO Jack the Ripper sequels.
Sexual violence, violence against children and so on are out, unless you have an excellent contextual reason for alluding to them.
Personal Note: The editor has taken in rescue dogs for many years, and is unlikely to accept anything which includes serious on-stage harm occurring to dogs.
INCLUSIVITY: We actively encourage contributors from traditionally less-published backgrounds of any nature. Non-white characters and settings are very welcome, as are stories with LGBTQ+ characters, and those with differing levels of physical ability. If you are writing about Britain, for example, there were plenty of Black and other non-white people in the country during this period, working or studying, especially in the larger cities. And despite draconian official laws, there were plenty of people who were LGBTQ+. Whilst limited situational discrimination may occasionally be relevant in the context of the period – in order to reflect characters’ life histories and the prevailing social standards – sexism, homophobia, racism etc. in general will result in immediate rejection.
TECHNICAL STUFF: Stories should be between 5,000 and 10,000 words. These are FIRM LENGTHS. Use any standard 12 point font. Indents by style, NOT Tab or Space-bar. Submit in .doc or .odt format, attached to your email, not pasted in it. NO .pdfs, Google Docs links or anything like that. Brief cover note only — no need for bios or achievements – open with ‘Hi’ or ‘John’.
Submissions must have the subject line Borderland-Story title-Author’s name. You can trim your story title down if it’s rather long.
NO REPRINTS; simultaneous submissions aren’t ideal, but are acceptable if you must. Please inform us immediately if your story sells elsewhere.
ALL SUBMISSIONS TO: linwoodweird@gmail.com
If you do not think your submission got through, query the same email address. If you have had no response within a week, please contact John Linwood Grant on Messenger. Do NOT send stories to Belanger Books, as they would have to be re-routed, and may go astray.
PAYMENT: Authors shall receive a percentage of the Kickstarter net profits, a percentage of first year royalties (percentage determined by number of contributing authors), and a paperback copy of the anthology. Belanger Books have an excellent long-term track record with Kickstarters, and with decent remuneration for their writers. Publication of the final book is expected Spring 2024.
A DARKER CONTINENT: Strange Tales of Europe at War
SUBMISSION PERIOD: 2 APRIL 2023 – 31 AUGUST 2023 inclusive. GMT.
CORE CONCEPT: An anthology of new, original weird and strange fiction set between 1938 and 1946 – from (and including) the Spanish Civil War to the immediate winding down of conflicts after World War Two. Weird fiction is a mode of writing which includes the subversion of many standard tropes, or more imaginative interpretations, and has a strong psychological component, so please bear that in mind.
SETTING: Geographically, stories should fall in the zone from Ireland to Russia, the Arctic Circle to the Mediterranean shores. Stories can be set during direct military conflicts or far from battle, where distant wars have local repercussions for society or individuals. We’re not looking for ‘war stories’ so much as stories set DURING the war across Europe and showing some awareness of its impact. This was a bleak time for most. Go inventive with this one, such as (a few throwaway illustrations):
- Something unnatural walking through the fires of the London Blitz
- German occupiers learning terror in an isolated Norwegian village
- Dread and disquiet amongst the Free French in Tunisia
- US troops lost in the Ardennes
- Families in Britain sensing a wrongness about returnees
- Torn loyalties and minds in Ireland
- Horror in the snows of the Eastern Front
- An Italian soldier dealing with fear by disassociating from reality
- Balkan partisans trapped in the mountains
- Communities trying to pretend that there is no war
APPROACH: Submissions could cover themes such as the intrusion of the ab-natural into the natural, the changing nature of society, and psychosocial issues at any level. Cosmic Horror is very relevant — explore the realisation that we are potentially insignificant in the cosmos, and that our understanding of the world around us may be at best partially, and even entirely, wrong. Mythos-rooted stories are possible, but should be subtle or different. Folk Horror stories, if affected by or affecting the wars, are also possible, as is dark Magical Realism. Submissions which focus only on the fighting itself are less likely to be of interest, unless the circumstances of combat are unusual and unnerving, or the participants themselves bring something disquieting to the events.
WHAT WE DON’T WANT: We do NOT want the usual vampires, zombies, werewolves, or tentacles and mad cultists, nor do we want simplistic ghost stories. NO gung ho war stories full of brave GIs battling horrid Nazis, ‘Boy’s Own’ battle tales, or glorifications of war; NO espousing Imperialism or colonialism; NO ‘Tom Clancy’ lists of weapon calibres or military specifications (unless your protagonist has become obsessed with them!). NO steampunk or alternative histories — twist the existing historical world to disturb us. Time travel will be a hard sell.
Sexual violence, violence against children and so on are out, unless you have a strong contextual reason for alluding to them.
Personal Note: The editor has taken in rescue dogs for many years, and is unlikely to accept anything which includes serious on-stage harm occurring to dogs.
INCLUSIVITY: We actively encourage contributors from traditionally less-published backgrounds of any nature. Non-white characters and settings are very welcome, as are stories with LGBTQ+ characters, and those with differing levels of physical ability. Remember, for example, that large numbers of Black, Asian sub-continent and North African personnel fought in Europe. Whilst limited situational discrimination may occasionally be relevant in the context of the period – in order to reflect characters’ life histories or period attitudes – sexism, homophobia, racism etc. in general will result in immediate rejection.
TECHNICAL STUFF: Stories should be between 5,000 and 10,000 words. These are FIRM LENGTHS. Use any standard 12 point font. Indents by style, NOT Tab or Space-bar. Submit in .doc or .odt format, attached to your email, not pasted in it. NO .pdfs, Google Docs links or anything like that. Brief cover note only — no need for bios or achievements – open with ‘Hi’ or ‘John’.
Submissions must have the subject line Darker Continent-Story title-Author’s name. If you do not adhere to this, we may misplace your submission. You can trim your story title down if it’s rather long.
NO reprints; simultaneous submissions aren’t ideal, but are acceptable if you must. Please inform us immediately if your story sells elsewhere.
ALL SUBMISSIONS TO: linwoodweird@gmail.com
If you do not think your submission got through, query the same email address. If you have had no response within a week, please contact John Linwood Grant on Messenger. Do NOT send stories to Belanger Books, as they would have to be re-routed, and may go astray.
PAYMENT: Authors shall receive a percentage of the Kickstarter net profits, a percentage of first year royalties (percentage determined by number of contributing authors), and a paperback copy of the anthology. Belanger Books have an excellent long-term track record with Kickstarters, and with decent remuneration for their writers. Publication of the final book is expected Fall 2024.
PHEW!
John Linwood Grant’s own recent second collection is Where All is Night, and Starless (Trepidatio). It’s not bad.
AVAILABLE NOW THROUGH AMAZON UK & US, AND THROUGH THE PUBLISHER, JOURNALSTONE
Amazon US: Where All is Night, and Starless
Amazon UK: Where All is Night, and Starless