Category Archives: dystopian fiction

Inception: $250 for Prose, Poetry, or Art Opening

Beginnings have the power to spark passion or curiosity. They might immediately connect a specific place and time with an emotional tone. The best offer a feeling, atmosphere, action, or image that is gripping.

Too often in commercially driven industries, this results in sensationalism. But meaning, thoughtfulness, emotions, or shadings of tone…that is, connection…are the impulses that draw audiences into the moment. A poem handles this differently than a flash piece, which handles an opening differently than a novel. The first photo, painting or frame presented in a gallery, series, or collection strives for the same intent. Openings contain a spark that promises to continue to burn.

For Sunspot Lit’s 2020 Inception contest, send your best opening. There are no restrictions on theme, category, or the length of the piece or collection from which the beginning comes. Word limit is 250 for prose, 25 words for poetry. Graphic novel entries should be the first page (unlimited number of panels on that page) with a maximum of 250 words…so, cut the number of panels in order to meet the word count, if needed. Visual art entries should be the first in a series, the first in a gallery lineup, the first photo in a themed collection, etc. Entries are limited to one image with up to 250 words to describe the series, lineup or collection.

For 2020, the entry fee has been reduced due to COVID’s economic impact.

Close: September 31, 2020

Prize: $250 cash, publication for the winner, publication offered to runners-up and finalists.

In addition to receiving the cash prize, the winner will be published. Select finalists will have the chance to be published. Sunspot asks for first rights only; all rights revert to the contributor after publication. Works, along with the creators’ bylines, are published in the next quarterly digital edition an average of one month after contest completion as well as the annual fall print edition.

Works should be unpublished except on a personal blog or website. Artists offered publication may display their pieces in galleries, festivals or shows throughout the publication contract period.

Enter as many times as you like through Submittable, but only one piece per submission. Simultaneous submissions are accepted, but please withdraw your piece if it is published elsewhere before the winner is selected.

Open Call Closing Feb 29

Sunspot Literary Journal is dedicated to amplifying diverse multinational voices. We offer an Editor’s Prize of $50 for the annual edition. Artwork selected for a cover will be paid $20. Visit SunspotLit.com to download digital editions for free.

All types of prose from flash fiction and poetry to stories and essays, including scripts and screenplays, are welcome. We also accept long-form, novelette, and novella length works. Translations welcome, especially with access to the piece in the author’s original language.

One piece per prose submission, including poetry; two works of visual art per submission.

Use the General form for prose from 501 to 3,500 words. Flash fiction and works longer than 3,500 words must be submitted through one of the other forms. If they are submitted through the General form, they will be declined unread.

Using the Fast Flux (two-week turnaround or less)? Select the correct fee option to avoid delays.

All submissions must be unpublished (except on a personal blog). Simultaneous submissions welcome. Submit as many times as you like.

Closes February 29, 2020 at midnight.

Closing Soon: Open Call from Sunspot Lit

Since launching in January of 2019, Sunspot has amplified multinational voices from around the world. The pSLJFrontublication is accepting fiction, poetry, nonfiction, scripts, screenplays, photography, and art until November 30. Translations and extremely long-form pieces are accepted. Submit here or visit the website here.

New Multi-genre Writing Contest

SunspotSunspot Literary Journal wants your best fiction, nonfiction, or poetry opening. No restrictions on theme, category, or length of the piece from which the beginning is excerpted.

Length for the entry: Up to 250 words for prose. Up to 25 words for poetry. 

First place winner will be published, and finalists will be offered the opportunity to be published. Enter as many times as you like. Simultaneous submissions accepted. Work can have won other awards without being disqualified.

Cash award of $250 for the winner.

Link here to submit today. 

Closing October 31, 2019. 

Discount Sale on Urban/Dystopian Fantasy Sparks Price War Between Amazon and Google

So, like many folks, my novels occasionally go on sale. Right now, Reparation’s ebook is on sale until October 3 (links at bottom of this post). Usually, this is where I would give you the book’s slugline, which is:

ReparationEbookHaruki Murakami’s 1Q84 meets Mark Helprin’s Winter’s Tale as a man battles sinister forces associated with a Native American peyote cult.

I would also inform you that the work has won a national award, and that the usual ebook price is $9.99.

Now, here’s where things get interesting.

The sale price was made available through two ebook channels: Amazon and Google Play. Both provide worldwide distribution, and both offer fast and easy access for readers.

Usually the buying choice is entirely about habits and preferred methods. Some folks like to run all their purchases through Amazon. Others prefer Google, while another set don’t display any particular loyalty.

Today, with Google’s continual efforts to pry their way further into the book market, we see one clear step they are taking to gain more share: beat Amazon’s price. Importantly, this will be done without dropping the revenue earned by the book. So, everyone wins…especially the ecosystem that provides readers with more choice through more distribution channels.

Where will you buy today? Let me know, and we’ll see if the sales figures back you up!

Now, finally, about Reparation!

A beautifully written supernatural story—the work of a master craftsman.”
“Endlessly compelling. A fascinating fusion of forms.”

“Whatever is dangerous, let me do it…I am supposed to die.”

When Aidan Little Boy leaves his ailing mother’s side to visit his sister on a peyote church property in South Dakota, he encounters a religious cult run by an apparently superhuman leader. Suddenly his nondescript life becomes tangled in a world that has grown disturbing and strange.

In a series of remarkable events, the ancient beings of Native American folktales are manipulated by people with strong connections to the parallel world of spirits. Soon Aidan uncovers evidence that his sister and the rapidly growing congregation are in danger. He must understand these unknown powerful forces before the Reparation, a ceremony that will slaughter thousands of innocents.

This complex and surreal novel merges folktales, history, and contemporary lifestyles with magical realism in a hypnotically addictive original tale.

Honorable Mention, Writer’s Digest 2016 Ebook Award

Currently discounted on Amazon and Google Play. At the time of this post, Google is beating Amazon’s price by $0.48!

Grab it now, because these deep discounts won’t last long!

Dystopian is Not Dead!

Oh, woe, dystopian is dead. How often have I heard that lately, and how wrong is it?
The annual What Kids Are Reading report found that dystopian fantasy and larger-than-life comedies dominate among young readers in the UK.
It notes that JRR Tolkien’s fantasy novels, which almost always rose to the top of the annual lineup, has been replaced by a deluge of dark dystopias and urban fantasies.
The report studies the reading habits of half a million children in over 2,700 UK schools. After six years of running the survey, this is the first time Tolkien’s titles haven’t featured in the top 10 places.
The most popular title for this year’s survey was John Green’s The Fault in Our Stars, followed by two (wait for it) dystopian stories: Suzanne Collins’s Catching Fire and Veronica Roth’s Divergent.
Dystopia is alive and well…OK, perhaps oppressed and in need of an uprising, but well enough, shall we say.
And what plays overseas, I’ve found, often plays well with American readers.