They call themselves a horror quarterly, so that means four times a year, online as well. While the art and design isn’t blowing me away, Shades of Terror is looking to pay pro rates for horror stories, and that’s always a good thing. But for now, it will launch in February 2015, and the art has been amazing, from what I’ve seen. Paying pro rates, they were created out of a Kickstarter, which always makes me nervous, so get in while you can-as who knows how many future issues there will be. It looks like they are seeking literary fiction, but with crime and speculative notes. The title comes from illustrated chapbooks that used to cost sixpence. The gist of Sixpenny is they are looking to place illustrated work alongside flash fiction, stories up to 1,250 words. From what I’ve seen, this market looks amazing-great art, and fiction.
This magazine is a product of Vice Magazine, and is under the Motherboard umbrella and website. The good news is that they’re paying a whopping 20 cents per word, which is quadruple the standard pro rate of 5 cents per word. Looking for primarily science fiction stories, Terraform wants near-future tales, but only up to 2,000 words, and publishes online only. Simply put, Allida believes that when artists draw from their most intense enthusiasms, kids get great books.This column, I’d like to talk about some of the best places to send your stories in 2015-new markets that are just getting started, newer publications that are doing well, and classic magazines that are always a great idea. The result has been books that consistently earn both critical acclaim and commercial success, and, most importantly, are fiercely adored by countless young readers.Allida builds on that model by supporting creators from marginalized communities whose work defies expectations. Her protagonists often share her Korean American ethnicity-but not always, and her focus has been to write as well as she can on subjects about which she cares deeply. Over a 20-year-plus career, she has written picture books and novels contemporary and historical stories realism and fantasy poetry and prose. This emphasis on creator-led stories mirrors Linda Sue Park’s own journey as an author. Allida’s goal is to sustain that change and nurture further equity and inclusion by encouraging marginalized writers and artists to create stories they are passionate about. The children’s book world is experiencing a new sense of excitement as opportunities for inclusion increase-a change made possible by visionaries who worked in relative obscurity for decades. Allida seeks to “make known” stories by creators whose perspectives have too often been ignored or undervalued and whose voices are essential for giving young readers a richer understanding of our shared world. The Korean word allida (ah-lee-dah) means to inform, announce, or make known.
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