Escape Artists Special Project Teams

This is a portal for special projects including anthologies, collections, and public domain research.

This is a portal for special projects including anthologies, collections, and public domain research. This is not intended for consideration of new individual stories.

The following submission types are temporarily closed:

Anthologies and Collections

There are a number of short stories in anthologies and collections, specifically those that have been or will be published in 2021, that deserve to get in front of more readers. We want to shine more light across our community and widen our circle to make room for more writers and readers. In specific, PseudoPod has penciled out space in a large portion of November and early December 2021 to support this effort.

Currently Closed to Submissions

Public Domain Consideration

Submissions for Escape Artists Special Project Teams - this portal is for the consideration of stories in the public domain. Our public domain effort is largely to combat erasure in speculative fiction. People are aware of Mary Shelley and then there’s a fuzzy grey void containing stuff and then modern writers. We are uniquely positioned to help apply focus to those gaps and educate. We sift out a pile of stories that have already entered the public domain from a number of authors, particularly women, and then collaborate as a team to identify what is the best example to share with the world.

Currently Closed to Submissions

Southern Nightmares Volume 1: Georgia Gothic

Southern Nightmares Volume One: Georgia Gothic will be the first anthology from the Atlanta Horror Writers Association. Submission period will be 1/1/2021 through 1/21/2021. The book is intended to be released in May 2020 during StokerCon. This will include a combination of prose, poetry, and black and white interior illustrations. The theme of this anthology is Georgia Gothic. Let’s break down what this means to us for this anthology. We’ll start with the Gothic. One of our resident academics, Crystal O'Leary-Davidson, presents this: “The Gothic is an external and internal art. The Gothic begins with the external setting—the locus of horror—crumbling castles and soaring cathedrals, needle-sharp high-rises and desolate trailer parks, desert wastelands or dark and meandering city streets. Those places draw out or reflect the internal states of characters and the reader. Staring at a crumbling building or the shadows of dark corners, we find ourselves in fear and wonder at what had been and the further decay of what will be. Sometimes the Gothic is hidden, what lies beneath a façade of perfection, but always, the Gothic is about secrets—forbidden knowledge and submerged histories. The Gothic is Individualism writ large, those who break the taboos of the bucolic, besmirch the innocent, have power over others, or have no power over their own dark impulses and desires. Ultimately, the Gothic terrain is the divided human heart, our want or fear of power, the death impulse in us all, or at least the titillation of staring into the abyss, one toe hanging over the edge.” Let’s delve deeper to focus on the Southern Gothic. Gothic wrestles with the past in the present - the "sins" and transgressions of that area's past. So Southern Gothic does this through a lens of struggles and transgressions that are particularly southern such as slavery, reconstruction, prohibition, and Jim Crow. The crumbling castle is replaced by the antebellum plantation house, or the stately buildings of Central State Hospital. The soaring cathedral is replaced by the revival tent. The Southern façade of perfection holds up politeness as a chief virtue while sheltering ugly truths. Characteristics of Southern Gothic include the presence of irrational, horrific, and transgressive thoughts, desires, and impulses; grotesque characters and situations; decayed or derelict settings; dark humor; and other sinister events relating to or stemming from poverty, alienation, crime, or violence. People don’t think about much when it comes to horror in Georgia. When we’re lucky, they think about a woman who would have been good if there had been somebody there to shoot her every minute of her life. When we’re less fortunate, they think of banjos and bad canoe trips. Georgia is a too-infrequent setting, and we would love it if these stories fully inhabit Georgia, from the cities to the swamps, the mountains to the shore, from Buford Highway to the roadside barbecue stand. We need stories set among the kudzu that is working to reclaim the buildings of Central State Hospital, this asylum that was later converted into a notorious prison. We need stories about how Atlanta burned in 1864, and how we have been continuing to burn the city every forty years or so while we try to forget our past. We need stories about Atlanta’s specific brand of white flight and how that manifests in the perennial ITP vs OTP skirmishes. We need stories about the anger against carpetbagging pillagers, who moved the capital and set the development pattern that remains in effect along the rail headed back to the north. We need stories about how one of the major motivations for prohibition was the number of businesses that had fraternization among the races, and how prohibition was enforced largely by the Klan. We need stories where we can smell the grease from the Varsity onion rings while we enjoy a frosted orange, where we can hear the muffled thud of bass from the Old Masquerade, where we can see the hand-scrawled roadside sign for BOILT P-NUTS and smell the fecund rot of the swamp swirled by an ocean breeze.

Currently Closed to Submissions