Submissions for the theme “Commercial Cosmonauts & Hired Guns” open next month. For more information, visit www.heliosquarterly.com
❄️ Merry Christmas and Happy Holidays ❄️
Radiant Crown Publishing is proud to have featured over thirty writers, artists, photographers, and poets work this year. We hope to keep growing and provide even better content.
We’ve successfully launched our first quarterly magazine of speculative fiction, and will have Selene Quarterly off the ground by the end of next year. Our yearly themed anthology entitled Hyperion and Theia will be out late next year as well. We’re also planning the first anthology in the Subterranean Series.
The Kármán’s quest judge will be announced shortly. Also, the Neuri Award is up for grabs once again in 2017.
Happy 🎆🎊 New Year 🎊 🎆!
Wishing you all the best,
Asgya and Volkana
Tensions between Asgya and Volkana had always been high. Before the International Committee of Warfare was formed, the Volks made several attempts to invade Asgya with little success. Recently, Asgya was forced to accept assistance offered by Volkana out of desperation when the famine tighten its grip. It didn’t take long for the Volks to use their foothold to further their true agenda. The Asgyans were starving, and the government seemed to be incapable of finding a solution. The Volks were seen saviors for the first time. So, when they exerted their influence over the Asgyan people, it seemed like a good thing. The Asgyan government wasn’t fooled, however. They knew what the Volks were doing, but with nothing to fall back on, they were forced to seek clandestine backing to cast the Volks from their nation.
Kisk and Asgya
When Asgya granted Kisk their independence sixty years ago, they also promised to back Kisk against any international threats. Neither of them expected Asgya to need Kisk’s help, but the Kisken government knew their freedom depended on Asgya’s. With a military force approximately 100,000 strong, there wasn’t much Kisk could do to defend or defeat either of their neighbors. The help had to come secretly using a highly-trained special task force. If Volkana learned Kisk was supplying extra food, sabotaging Volk propaganda, or contributing to Asgya’s intelligence, they would no longer be dealing with a quiet takeover, but a full-fledged war.
Volkana and Kisk
Previously protected against raids under Asgyan rule, and currently protected by International Warfare laws, Kisk was safe unless they provoked hostility with Volkana. When Kisk agreed to help Asgya, they underestimated Volkana’s network of informants. Volkana moved quickly to spin the situation to their advantage. Soon, the world thought Kisk helped Asgya instigate a war against them—however irrational it seemed. The first Volk attack seized a Kisken prison under the pretense of rescuing false-POWs, and the country fell to ruins within a year.
Introducing Rebecca Lee who will be releasing a limited print run of her novelette Object Relations: A Novelette with RCP! Here’s your chance to get to know Rebecca before it comes out.
Object Relations Theory: A form of psychoanalytic theory postulating that people relate to others in order to develop themselves.
Through long divisions of interpretation, words sectioned into sentences. Uncomfortable, they bunched together, worried their independence lost. Together, all the words decided they should be bound in unison forever. Their books stain the beliefs that we continue to hold.
Rebecca Lee’s collection of vignettes demonstrates the various imaginary relationships of personified objects. From door knobs to smartphones, everyday encounters come alive.
1. First, tell us a little about yourself. When did you want to become an author? What inspires you to do what you do? Who are you?
I have always wanted to be a writer. Ever since I could pick up a pen, I’ve been glued to various notebooks. I love the sensation of hiding my words behind paper. It feels like I’m telling a secret to myself.
2. What are some quirky and or unique aspects about you and your writing?
I like to believe that everything has a perspective. If two people can look at the same thing and come up with several different stories, that means it exists and is therefore writing-worthy.
3.RCP “was founded in 2016 to showcase quality fiction, diverse stories, and unexpected protagonists.” What does that mean to you?
I think the word ‘ordinary’ is really fascinating. Even a word that is supposed to mean common, has a million different definitions depending on who you are talking to. With every object that is fictionalized in my book, I try to show a side that may not have been previously thought about. That way ‘normal’ can have several representations.
4. What made you start a blog? Has it influenced your writing in general? How did Object Relations come about?
I’ve been writing in a blog since I was 14. At first it influenced my writing because I wrote for friends. Descriptions I would have poured out in my journal, transformed into stories that I thought friends might find amusing. Object Relations came about early on. When I was a child I would write about object’s personified. I guess I always hung onto it because I could shape something that wasn’t real into anything I wanted.
5. How has writing affected your outlook on things? Has it made you take chances or see things in a different light?
That’s a very difficult question to answer. I’ve been writing almost my whole life, so I can’t imagine what I (or my life) would be like without it. I’d like to say it’s made me take chances and risks I might not have otherwise taken, but I have no idea. It’s my brain. For better or worse, it’s always a part of me.
6. What are you most excited to share when it comes to Object Relations? Ex). A particular vignette or object?
There are many sides to the same coin. (Bad pun I know)
7. Finally, do you have any advice and or tips for aspiring writers out there, especially women?
Write every day. Whether you’re a woman or a man, dedication and discipline are a lasting marriage.
The semi-annual subterranean anthology series is dedicated to pulp fiction in niche speculative fiction sub-genres. It will take a nuanced and often critical look, however, at the conventions and broader historical context in which these sub-genres operate. 2017-2019 will bring a trilogy comprised of dieselpunk, weird western, and space opera fiction.
“I don’t try to describe the future. I try to prevent it.” —Ray Bradbury
Tycoon by Stefan Paris (http://stefanparis.deviantart.com)
Twilight of Man by Elizabeth O. Smith
Libertador by Stefan Paris (http://stefanparis.deviantart.com)
Slow City 2 by Stefan Paris (http://stefanparis.deviantart.com)
Rechauffement Climatique by Stefan Paris (http://stefanparis.deviantart.com)
Diesel Palace by Stefan Paris (http://stefanparis.deviantart.com)
Fugit Irreparabile Tempus by Stefan Paris (http://stefanparis.deviantart.com)
Final Curtain by Stefan Paris (http://stefanparis.deviantart.com)
The Silent Empire 8 by Stefan Paris (http://stefanparis.deviantart.com)
Uchronia by Stefan Paris (http://stefanparis.deviantart.com)
Diesel Nights by Stefan Paris (http://stefanparis.deviantart.com)
The Endless Goodbye by Stefan Paris (http://stefanparis.deviantart.com)
Armed Against the Ageless One by Kevin Holton (2700)
Tickie-Tockers by David Castlewitz (4500)
A Better Life by Lawrence Dagstine (5000)
The Revolution Engine by Pedro Iniguez (5000)
A Slow Inoculation by Dale Carothers (5100)
The Bronze Gods by Jeremy Szal [Dimension6 (Coeur de Lion Publishing, 2016)] (5400)
The Last Night of Pangea by Irene Puntí (5400)
The Colossus at Blue Sands by Gregory L. Norris (5500)
Episode 10: A MOON CALLED TERROR (A Rex Kane Adventure) by Chuck Regan (8300)
A Fifth World by Matthew Maxwell (9900)
Announcing Radiant Crown Publishing’s upcoming anthology of dieselpunk fiction, featuring art from the premiere dieselpunk artist, Gaslandia!
January 1st, 2017- March 1st, 2017
Anything submitted outside of this window will be deleted unread.
Gaslandia is an upcoming anthology of speculative, mysterious, and romantic dieselpunk adventures! Framed as a book of legends told during an air raid, each story should have a 1920s-1950s pop culture aesthetic not necessarily restricted to a North American audience. Critical nostalgia is key. Don’t feed us the same old tired tropes without engaging the past in new ways. We want sprawling metropolises teeming with innovation, undiscovered frontiers in the depths of the oceans, and the vastness of the open skies re-imagined. Pack your stories full of locomotives, speakeasies, radios, spies, telegraphs, gangsters, submarines, world fairs, skyscrapers, inequality, warfare, and magic that dazzled and divided the world. Deadline March 1st, 2017 11:59 EST.
Last Exile (Animation)
Children of the Sun (RPG)
Jean “Mœbius” Giraud (Comics)
Thrilling Tales of the Downright Unusual (Illustrated Serial Fiction)
RIGHTS SOUGHT FOR FICTION
- Non-exclusive archival rights as long as the website(s) hosting the work are online
- If an audiobook is produced, payment is $0.01USD per word for non-exclusive electronic audio rights
- First world electronic and print rights in English with exclusivity for 8 months from the date of publication
- Copyright remains with the author at all times
Please query if anything listed is of concern. Here is a good explanation of what this entails.
LENGTH & GUIDELINES
SHORT STORIES: 1001 to 7,499 words. Paid $0.01USD per word.
NOVELETTE: 7,500 to 17,499 words. Paid $0.01USD per word.
NOVELLA: 17,500 to 40,000 words. Paid $0.01USD per word.
SPOTLIGHT SHORT STORY: 1001 to 1500 words. One story involving an air pirate with a prosthetic limb as a central element of the plot. Paid $0.02USD or $0.03USD per word.
All payments made through PayPal. Please note that these are not professional rates. Fiction can only be resold as a reprint after publication. Decide if you want to take this payment scheme or submit to another market.
- Poorly formatted and edited work
- Overtly racist, sexist, violent, etc. works without adding value overall
- Works above the word counts and/or untitled
- Fanfiction of any kind
- Excerpts out of a novel
- Taboo elements (rape in all forms, incest, pedophilia, etc.) in almost all cases
- Pushing the boundaries of genre and form
- People of Color, disabled people, women, LGBTQIA, and other marginalized groups at the forefront
- Pulp fiction, Decopunk/”Ottensian” Dieselpunk, Diesel Noir, Diesel Weird War, Diesel “Piecraftian” Dystopia, Weird Western, Dying Earth, Raygun Gothic/Atompunk, Slipstream, Ancient Aliens, Hollow Earth, and so on
- Through HeyPublisher
- Through Green Submissions
- Via email (preferred): subs [at] radiantcrownpublishing.com
- The subject line should read GASLANDIA: CATEGORY: TITLE (WORD COUNT) ex). GASLANDIA: SHORT STORIES: Super Story (1001)
- A short cover letter is required. Please include your legal name, pen name (if relevant), contact information, recent publications/awards (if any), and a bio of 50-150 words. Interview questions will be sent to accepted authors. A photo of you is required
- Submissions should be attached in the email as a .rtf, .doc or .docx
- Shunn’s manuscript style for fiction required (double-spaced, 12 pt standard font, page numbers, etc.)
- Reprints encouraged!
- Translations into English are welcome
- Up to two submissions in total allowed
- Simultaneous submissions to other markets are accepted! Alert RCP immediately should your work be accepted somewhere else (congrats in advance!)
Currently around two months after submitting. Do not query before then. We do not send out notification that the piece has been received, only when it is accepted or rejected. We will try to answer all submissions with an acceptance or rejection letter.
Any personal information collected (including but not limited to your name, address, email, social media links, and pen name) is held in strict confidence and not shared with anyone else unless compelled by law or in the event threats are leveled against the staff.
If a third party contacts RCP interested in an author’s or artist’s work, the author/artist will be contacted first to ask permission to share details.
By sending us your work you understand and agree that:
- You are the original creator and copyright holder of the work submitted;
- You are not prohibited by any prior agreement from the transfer of exclusive electronic & print rights in English, first world translation rights into English, reprint rights, and/or non-exclusive audio rights to the work;
- All information submitted is accurate and truthful; and
- You accept sole responsibility for any false statements upon rights not disclosed.
If you are under the age of 18, your parent or guardian will sign your contract and accept your payment on your behalf. Finally, if accepted here and then republished, you are required to add the title of this anthology as your previous place of publication.
TRACK YOUR SUBMISSION
LAST UPDATED: January 3, 2017
Symbol: Four squares: top left and bottom right—red, top right—white, bottom left—black
Volkana had long owned the entire south-western continent. Boasting multiple landscapes from mountains to deserts to grassland, they preferred to be self-sustaining instead of relying on imports. On the other hand, iron mined from the mountains, multiple oil lines throughout country, and being a front-runner in technology had kept Volkana one of the richest countries in the world.
Unfortunately, the Volk Princeps kept taxes so high the citizens couldn’t afford much more than the necessities. They lived mainly on hearty stews, and dense bread. Few homes were owned by private citizens, and nearly half of a farmer’s crop was claimed for the government employees upon harvest. With a formidable military presence in nearly every city, any hint of a rebellion was crushed before it began, securing the authoritarian regime.
The corruption in the government only spread over the centuries. Once the International Committee of Warfare was created, Volkana was forced to step back from their aggressive movements. Instead, they had to resort to scheming so any invasion appeared to be defensive measures. No new lands had been conquered in nearly two hundred years. In fact, eastern commonwealths had reclaimed their independence, leaving Volkana without a foothold on the other side of the world. But the current Princeps was determined to leave behind a legacy. When the opportunity arose to return Volkana to its former glory days, they wasted no time laying down the foundation for a hostile advance.
Covering a low-peaked mountain on a Volk peninsula was the city of Ubrar. Government buildings stood above the seedy city, each district becoming more squalid as they spread down the windy, cool mountainside. While it had been considered the capital city since the early days, the high crime rate drove the regime to conduct official business in a safer locale. The state buildings were now used solely for hosting foreign diplomats. Shut off from the rest of the city by a dense pine forest, the truth of the city could be safely hidden for short visits. To avoid exposing foreign leaders to dirty streets, crumbling buildings, and a growing mafia, they were brought to a secure location on helicopters from a nearby airport.
For Ubrar’s citizens and common visitors, there was only one way in and out of the city—a winding road that passed through the surrounding mountain range, before reaching a deep gorge. A suspension bridge brought drivers straight into the outer limits where crime was the worst.
While Ubrar used the limited access through the mountains as a natural defense, the city also housed a military garrison of thirty thousand men and women. The military presence helped keep organized crime to a minimum in the past, but in recent decades, the leaders became embroiled in the corruption around them. Ubrar quickly became a city rife with drugs, prostitution, and violence. When the Princeps ruled to cut back the city’s funding to finance the war, and began recruiting the most educated citizens, matters only got worse.
Submissions for the theme “Saturnalia” now open. For more information, visit www.hyperionandtheia.com