The deadline: July 15, 2023

The founding editor, Kate Bernheimer, will edit the twentieth annual number of reviewing the tent’s story. Folder. 20 will not have a topic. We are looking for your best new business. Please learn about the contents of our print problems. Applications will be accepted on March 8, 2023 – 15 July 2023.

We ask that all requests be committed to the following general guidelines:

• All work should be presented using Submission. We do not accept the introductions via email or postal service.
• The introductions should be unpublished before, whether in printing or online. The introductions should be unpublished before, whether in printing or online; The submitted work, which is part of an upcoming book like the story collection, is qualified to look, as long as the book on which the date of publication will appear late on March 1, 2024.
• The book should be presented only once in a specific type for each presentation period, unless they are encouraged to be presented again by our editorial staff. Many applications are made unread.
• Single -time servants are welcome. Please note this way in your coverage letter and withdraw the application immediately if it is accepted elsewhere. Withdrawal processes can be done by serving them. If you offer a package of poems and you should withdraw one but you want to stay the rest under study, please add a note to your application in sending them.
• We welcome the presentations directly from the authors, agents and publishers of books; We welcome the manuscripts of books under a contract with the publishing dates after March 1, 2024 from which we may choose the contents of publishing the first serial rights (whether they are poems, stories, articles, graphic novel, etc.). Please contact us via email with information and details if you represent a coming book that would like to provide us with the first serial rights you keep or represent to this book.
• We welcome multi -language work. For works that are not in English in the first place, please include a translation of non -English (s) if that will support his access to editing staff.

A specific type guidelines can be found below:

• For prose: the book may provide a single prose piece of 6000 words or up to three pieces of prose less than 1000 words each (combined in a single word document). We welcome short imagination, articles, lyrical stories and creative scholarships. The grant will go through the standard peer review process.
• For poetry: the book may provide up to four poems of no more than ten pages.
• For graphic, comedy and drama novels: the book may provide up to ten pages.
• For original artwork: artists may present up to five high -resolution images.
• For translations (to English): The book may provide imagination, stories and poetry translations. The presentations in the translation should be followed by the above -mentioned instructions corresponding to the original work type. The translation of translation should include the translated work in the source language, as well as documenting any necessary permissions to spread the work in both languages ​​(original and English) combined in one document.
• For dialogues: If you want to suggest a dialogue between you and another researcher or author (or any person working in another specialty that focuses his work on fictional tales), please provide a short letter of inquiries context of the proposed dialogue, including the current biography of each of the participants, and send an email directly to us in ftreditorial@gmail.com.

Fair Tale Review will be deployed in February 2024. The shareholders will receive two versions (2) of the case and an honor worth $ 50 upon publication. A record contract between the shareholder and the fictional story will be implemented when accepting.

Our editorial staff is completely small and volunteer. We hope to respond to all requests within 4 months.

Fair Tale Review has been published by the Journal Department at Wayne State University Press, Detroit, Michigan, and is proud to be part of the imaginary tale studies series.

Since its inception, it has been committed to reviewing the story of the pound with the diversity of shareholders and comprehensive participation. As is always the case, we are particularly interested in the presentations made by women and non -Boldes’ writers, the LGBTQIA Book, the Bipoc book, the original writers, the book with disabilities, and the book from other groups marginalized and not torn in the main publishing. Fictional stories have long represented marginalized societies. We celebrate the fictional stories to represent violations of power, resistance and thinking.

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