"This work is unlike any other, in its range of rich, conjuring imagery and its dexterity, its smart voice. Carroll-Hackett doesn’t spare us—but doesn’t save us—she draws a blueprint of power and class with her unflinching pivot: matter-of-fact and tender." —Jan Beatty

Thanks to Paul McVeigh for sharing this call. 

Squawk Back seeks Fiction, Poetry & Creative Non-fiction

“Send any materials that you wish to have considered for publication in (the) Squawk Back—preferably as attachments in .doc, .rtf, .txt, or .odt format; or copy-pasted in the body of an email—but under no circumstances as .wps files or PDFs, and preferably not .docx’s—to…..


We read year round. All first-time submitters will hear back from us within two weeks. Those previously published in Squawk Back will wait a bit longer, as their submissions do, unfortunately, go to the bottom of a pile, owing to that we try very hard to feature new contributors in every issue.

We primarily publish fiction, poetry, and creative non-fiction. We do not publish plays or screenplays, but we may consider monologues. We will consider excerpts from unpublished novels, poetry collections &c, but please do not submit entire books.

No individual prose submission should exceed ten-thousand words in length. For submitters of poems, we’d prefer it if you kept it under ten pieces per submission. Multiple-poem submissions go in one document or are pasted into the body of one email.

Upon acceptance for publication, submitted pieces which appear in their entirety on personal blogs either Must Be Removed from those pages or replaced with excerpts and/or links to their new home in Squawk Back.

Upon submitting your work, you hereby grant (the) Squawk Back a non-exclusive, royalty-free, perpetual and irrevocable license to use, reproduce, distribute, modify and display your content for any purpose, including without limitation promoting and redistributing part or all of the site. Works submitted to Squawk Back, whether officially or unofficially copyrighted, will remain the full intellectual property of their authors. We are far less interested in exploiting emergent literary voices than providing them with a louder box with which to squawk.”


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