Macmillan Heroes and Heartbreakers submission guidelines

HeroesandHeartbreakers.com welcomes submissions of original short romance stories in all subgenres (contemporary, paranormal/urban fantasy, women’s fiction/chick lit, historical, romantic suspense, etc).
We are not interested in “true confessions” or other non-fiction material. We are particularly interested in stories between 6,000 and 15,000 words, although exceptions may be made. Simultaneous submissions are allowed.

Original short stories acquired for this program are edited by both in-house editors and freelance editors who are experts in the romance genre.

We pay $1,000 against a 25% royalty. (The royalty enters the picture with respect to downloadable versions of the work.) Although we will consider edge cases, “original” means original—not previously published.

In your cover letter, please include the following:

• The subgenre of your story
• Confirmation that the story has not been previously published
• If you are a published author, and if so, for whom you write
• If your story is connected to a larger universe in which you already write

This is not required, but please feel free to include your Twitter and Facebook URLs in the cover letter.

Stories should use standard manuscript format (Our preference is 12 point, Times New Roman, double-spaced) and be emailed as Word or RTF. Please send it with a cover letter including the elements described above.

Submissions and questions about the acquisitions process should be emailed to submissions@heroesandheartbreakers.com.

The Weekly News submission guidelines - February 2011

Weekly News Short Story Guidelines

The Weekly News has a largely older readership which is evenly split between the sexes, so we are looking for general interest tales — crime, humour (especially), ghost stories (although we’ve had plenty of these recently), or “coffee break” dramas which wouldn’t be out of place in any popular TV soap. At the moment we're also interested in stories with a bit more 'edge' that are slightly darker.

Although an old-fashioned love story may occasionally be appropriate, we're not looking for slushy romantic fiction, or anything twee. And although it’s a popular style, we don’t generally take chick-lit. Similarly, we don’t want anything too racy or gory. As The Weekly News is a family paper, we wouldn’t use anything with any sexual content.

Many stories we publish have an interesting twist to surprise the reader, as these seem to be popular. But if your twist is “it was all a dream” or “he/she/it was a ghost”, or the main character is actually a pet, it won’t get through!

• Aim for something light-hearted, perhaps centred around family life or a recognisable situation.
• If your main character is strong enough, you can have them carry the whole story.
• A positive outcome is favoured, but this can be reached by a good bit of double-crossing, or the comeuppance of the baddie.
• Be playful – have some fun with your characters at their expense i.e. in embarrassing social situations.
• We also like sensitive stories that may involve a death, an illness, a fear, etc. If the situation doesn’t come across as too dark and depressing and has an uplifting end, then it may make it through.

Stories can vary in length from about 750 to 2,000 words at most, though we reserve the right to edit them as appropriate. Also, we rarely accept stories written in the first person or present tense.

Please note that, at present, we use three fiction items at each week and, even if an item is accepted, it could be some time before it is published.

We always have plenty of stories to read through, so it could be six to eight weeks before we can respond to submissions.

DOs:

• Use strong, identifiable characters – but remember they don’t always have to be likeable.
• Use natural-sounding speech. We tend to avoid dialect as we like to be a bit geographically vague to add to the universality of the stories.
• Check your historical facts fit your time-frame and characters.
• Be thought-provoking if you want – be topical.
• Read and check your punctuation and paragraphing. The easier your work is on the eye, the easier it is to make an informed decision.
• Work within reality – this is fiction, but it does have to be believable.
• Do include your email address, postal address and phone number on your story.
• Full stories, please. We can’t get enough detail or feel for a piece from a pitch or synopsis.

DON’Ts:

• No murdered spouses, dreams, ghosts or pet twists.
• No first person or present-tense stories.
• No relationship-centred stories.
• No hard copy. Email is now our only method of delivery. Please send to jfinlay@dcthomson.co.uk.  You'll receive an auto-reply from this address so you know we’ve definitely received your email.

My Weekly submission guidelines August 2010

Basically, they wouldn't send me any!

I will try again at some point and will publish them on here if I get them, but as it stands at the moment, they are inudated with stories and aren't accepting from new writers.

For the foreseeable future they are unable to read and therefore accept unsolicited stories from authors who have not already had an acceptance from My Weekly.

If you have contributed to My Weekly in the past then you can submit, if not, then there are no opportunities at this time.

Woman's Weekly guidelines August 2010

WOMAN'S WEEKLY FICTION GUIDELINES

 

We regret we can’t accept stories by email. Please include an sae in case we have to return your manuscript.

Fiction is a vital ingredient of Woman’s Weekly, the place where readers can escape and switch off. This doesn’t mean predictable plots or old-fashioned romances. Escapism means getting involved in a really gripping tale with believable characters. Above all, we are looking for originality and a wide variety of themes and moods, such as mystery, humour, relationships and family issues, with warmth still an important factor. Try to be subtle in your writing and remember the maxim: “Show don’t tell”. We recommend you read several issues of Woman’s Weekly and Woman’s Weekly Fiction Special to get a feel for our audience.

 

Unfortunately, we can’t offer criticism, but if your writing shows promise, we will contact you.

WHAT WE ARE LOOKING FOR

For the weekly magazine:

• Short stories of 1,000 and 2,000 words
• Serials in 3 parts of 3,800 words each

For Fiction Special (25 stories 10 times a year):

• Stories of 1,000 to 8,000 words

GENERAL TIPS

• We read only typescripts. Handwritten work or disks can’t be considered.
• Double line spacing on one side of the paper only and wide margins.
• Number each page and make sure your name is at the top of each page.
• If sending stories from abroad, please enclose an international reply coupon.
• If you would like us to acknowledge receipt of your manuscript, enclose a stamped, addressed postcard.
• Please note that it can take up to sixteen weeks for manuscripts to be considered, and that we are unable to enter into any correspondence by email.

Please send stories/serials to:

Fiction Department

Woman’s Weekly

IPC Media

Blue Fin Building

110 Southwark Street
London SE1 0SU

People's Friend submission guidelines August 2010

Short stories


These vary in length – between 1,000 and 3,000 words usually. Deeper, more emotional, stories tend to need more space than lighter ones. We also accept short, short stories, from 500 to 1,000 words, for our complete on-a-page fiction.

Our readers like reading about people of any age. Don’t fall into the trap of thinking we only use stories about grans and granddads, widows and widowers. Stories with older characters are, obviously, important, but our readers also enjoy those with up-to-date, young, romantic themes. There’s always a place for the light-hearted and humorous, too. This isn’t to say we avoid “modern” themes like divorce or single parent families, but these must be treated sympathetically and tactfully. We’d rarely show divorce happening “on stage” in a short story – or a serial. Separation which ends in reunion would be something our readers would approve wholeheartedly!

We’re always looking for good Christmas stories (as well as other seasonal material) but beware the well-worn themes! Again the message is – be original and try to reflect the real spirit of Christmas.

So what don’t the readers enjoy? Well, they’ve made it clear they don’t want to read depressing, or bitter, stories. Or stories that shock or disgust or upset because of their graphic content – be it sex, violence, murder or substance abuse. And avoid the story with a twist in the tale that misleads or cheats. Any twist has to be credible – and emotional. Readers like to have a chuckle, or a lump in the throat, at the end of a story ... or even both! But remember, they prefer to laugh with people rather than at them. And they like to know how a character feels, as well as what he, or she, is doing.

Write from the heart as well as the head – so that the emotion of the situation comes across strongly. And the ending has to be satisfying. We rarely use stories from the viewpoint of animals or inanimate objects. Historical short stories are difficult – it’s not easy to be convincing in under 3,000 words. And anything with a supernatural theme always gets the thumbs down from our very responsive readers. In the author’s byline we frequently describe our stories as tender... touching... moving... amusing... charming... All words with positive feelings behind them.

Your raw material is people. Our readers want to identify with your characters, believe in them, their problems and the situations. If they can’t get close to a character, or that character does or says something unconvincing, they’ll lose interest. Your job is to keep the reader reading. WE STRONGLY SUGGEST YOU TRY WRITING SHORT STORIES BEFORE YOU ATTEMPT OUR OTHER FORMATS.

Fiction series

These might be considered a sort of hybrid, a cross between a short story and a serial. They are usually based on a strong, central character in an interesting situation. Each week’s story is complete in itself and, in subsequent weeks, new characters and their problems are introduced. But each story has a common setting, or theme, or central character playing a pivotal role.

Serials

These are normally worked on from the early stages by the author and at least one member of staff. The storyline is carefully worked out by phone, letter, or by a face-to-face conference. Only when agreement is reached does the story proceed. All our serials have a strong emotional situation as their central theme, usually family based. There can be other loosely-connected storylines involving family members, relatives, friends... so it’s quite in order to change viewpoints. It’s even possible to do this in a first-person story – with a bit of ingenuity!

We avoid subjects that are controversial, or which would be beyond the average reader’s comprehension. We don’t want to teach, or preach, or clamber on bandwagons. We don’t want unusual, outrageous or offensive characters. This doesn’t mean that characters have to be bland. Far from it. They must appeal to the reader’s imagination and stir their emotions. Your story can be set in the present day or it can be historical – without going too far back into the dim and distant past!

Writing a serial isn’t like writing a novel. You have to enthral the reader in such a way that she – or he – is looking forward eagerly to next week’s instalment. You don’t have the luxury of writing long, beautifully crafted narrative or descriptive passages. Serials run from eight to twelve instalments on average, though we will use shorter, or longer, stories from time to time.

The opening instalment is usually quite long — around six thousand words. You should aim to set the scene, introduce your characters and explain their problems. Your opening page must catch and hold the reader’s interest right away. Some problem, some crisis, should be coming to a head, some endeavour, some venture about to be undertaken. Succeeding instalments are normally shorter, round five thousand words.

Each instalment is made up of three or four chapters. (Get the idea of differentiating between a chapter and an instalment.) Each chapter should deal with a particular aspect, or incident, or scene in the story, moving it forward at a good pace. Although there will naturally be some overlap, each chapter should be more or less complete, ending on a high point to encourage the reader to go on. Don’t jump around in short, quick, disjointed scenes. Give yourself a chance to develop your characters and their relationships. The readers enjoy a good, sustained read. Your final chapter to the instalment should have a more powerful curtain, so the reader is impatient to know what will happen in the following week’s magazine.

How your characters react – in their different ways – to the problems and situations you put them in, is what makes your “Friend” story. Your storyline – plot, if you like – is important, of course, but the reader will remember a good character long after she’s forgotten other details. Effective use of dialogue will not only build up your characters in the reader’s mind, it can also provide background information and keep the story moving along briskly. Don’t write long passages explaining what makes your character tick, or what’s gone before. The reader should “sense” their personality through what they say and how they react to challenging situations. Let the characters speak for themselves, so the reader can get involved and identify with them. Study the popular soaps on TV. See how effectively their writers use dialogue!

We very rarely buy a complete serial in manuscript form. Don’t even try a first instalment on your own! Send us your idea, with perhaps just a few pages of the story, and give us a detailed synopsis of how the story develops... and we’ll get back to you.

Submission guidelines golden rules

• We’re always happy to consider unsolicited manuscripts, but once you’ve completed your story, try to read it objectively – we know it won’t be easy, because you’re so close to it and you’ve obviously put a lot of effort into it. But do try to ask yourself – “Is this really a ‘Friend’ story?” And answer honestly, now! If the answer is a definite No, please don’t send it in. But if you feel it’s along the right lines, by all means let us see it. We’re here to help and advise you.
• Your manuscripts should be typed – on one side of the paper only. Use double line spacing and leave a generous left-hand margin. ALWAYS KEEP A COPY.
• You should also have a flysheet, showing the title and author’s name (or pen-name if you prefer). Please make sure your own name and address also appear on the page.
• Number the pages of your story – or serial instalment.
• Paperclip your manuscript together. And preferably use an A4 size envelope so that you don’t have to fold the typescript over. Anything you can do to make your work easy to read will be much appreciated by our hard-working staff. Please ensure postage is correct.
• Address your short stories to the Fiction Editor at the address below. Children’s stories should be sent to the Children’s Page Editor and poetry to the Poetry Editor and so on.
• Seasonal stories or articles should be submitted fully three months in advance.
• Remember to enclose a suitable self-addressed envelope with the correct postage. Or if you live abroad, send an International Reply Coupon. PLEASE NOTE, WE WILL NOT RESPOND TO SUBMISSIONS UNLESS AN SAE/IRC IS ENCLOSED.
• Please don’t swamp us with manuscripts! We very often find that a collection of stories all have the same basic flaw. So, if you’ve been enthusiastically writing, pick the best one, or two, to send in to test the water. It’ll save your postage and we’ll let you know if we want to see more of your work.
• Be prepared to wait a few weeks for a reply. Our selection process can take some time.
• Payment is on acceptance. You won’t have to wait for publication.

The People's Friend
D. C. THOMSON & CO. LTD.
80 KINGSWAY EAST
DUNDEE DD4 8SL.
Phone Dundee (01382) 462276 or 223131 Fax: 01382 452491
email: peoplesfriend@dcthomson.co.uk

Take A Break submission guidelines June 2010

GUIDELINES FOR AUTHORS: TAKE A BREAK


Basic requirements: We are looking for contemporary stories aimed at women from their mid-twenties upwards. We require about 1000 words (N.B. Please note reduction from max of 1100 words) with a strong plot and a good twist in the tail. We do not have a weekly serial, so stories must be complete in themselves. It is highly unusual for us to buy stories written in the first person (I), we prefer third person narratives, (He/she).

N.B N.B. N.B !!!!!!

The twist MUST arise out of the plot, rather than simply turn on a detail, which the characters know but is deliberately kept hidden from the reader in order to mislead:

To check your twist is a genuine twist - not simply a deception - imagine your story were being made into a film and ask yourself - would the surprise still work? If it wouldn't, I'm afraid it's not for us.

Subject matter: We particularly like settings and situations which readers can recognise and relate to, rather than say, country house murders or stories about drugs’ rings or jewel thieves. It's essential to read several issues of the magazine to get the flavour of the type of fiction we publish before writing a story aimed at Take a Break. Many writers waste a lot of time and effort because they haven't done this. Please avoid straightforward romance i.e. boy meets girl and they live happily ever after. Also avoid historical backgrounds, science fiction and stories narrated by animals or small children. Take a Break is a family magazine so graphic murders etc. are not acceptable.

Common plots to avoid: UPDATED

* The heroine/narrator is revealed to be a cat, dog, fox, or whatever! This is a complete no-no.

* The victim of a rip-off tradesman or horrible motorist etc. turns out to be his or her new

boss/emergency dentist/VAT inspector.

* The policeman/woman is really a strippagram/singing telegram.

* The woman discovers her husband's secret lover is a man (or man discovers wife's lover is a woman).

* A husband/wife's mysterious arrangements turn out to be for a surprise gift/party - not an affair.

* The character who sees 'ghosts' is actually one him/herself.

* A shifty antiques dealer or similar dupes an old lady out of what he thinks is a priceless antique and it

turns out she is making them by the dozen.

* Anything to do with twins.

* Someone nervous about a first day at school turns out to be the teacher; or about a wedding, turns

out to be the vicar; or an interview, the interviewer and so on.

* Anything to do with bumping off elderly relatives for the inheritance; in fact 'Wills' in general are best

avoided.

Finally...no stereotypes please! It's all too easy to fall into the trap of having lazy husbands and put upon wives, battle-axe wives and put upon husbands, grumpy old people and their longsuffering relatives, lonely single mums and their matchmaking children… Stories about super-husbands and overly-cheery grannies can be equally dull.

Because many writers write to this type of brief, their stories become boring and perhaps a good

twist is wasted. Be open-minded about your characters but keep them real!!!!!!

Because our stories are so short, it can be confusing if you have too many characters. A maximum of four is usually best. The main character should always be a woman.

Stories must be your own idea and original work, previously unpublished, and not on offer to any other magazine or publisher at the time sent to us. Should your story be accepted we would probably have to edit it to conform to page length and style.

Presentation: No e-mail submissions or floppy disks please!

Typed manuscripts are quicker and easier to read, but if you can't get your story typed, write clearly in double line spacing.

Please ensure your name, address; e-mail address (if you have one), and telephone number are on each page of the manuscript as well as on any accompanying letter. An accompanying letter is not necessary. Please include a stamped address envelope large enough to hold your story. Self-seal envelopes are especially appreciated. It's advisable to keep a copy of your story to guard against the remote chance of loss.

Features and articles should be sent directly to the Features Department with a covering letter.

It can take 10-12 weeks before a decision is made concerning your manuscript, so please be patient. If your story has not been returned after 12 weeks, please drop me a line giving me the story title, a 2-line synopsis of the plot and the date sent. Include your phone number (and e-mail address if poss.) and I will get back to you as soon as possible.

Should your story be rejected it can be for any number of reasons. Sometimes we have already published or have in stock a similar story. More likely though, I feel it will not appeal to our readers. This does not necessarily mean I will not like another of your stories, so please don't lose heart.

Payment: £400

Usage Terms: First British Serial Rights with extended usage only across all media platforms

Stories sent for specific issues, such as Christmas, Easter, Halloween etc, must be sent at least three –four months in advance of issue date.

GUIDELINES: TAKE A BREAK'S FICTION FEAST:

As Fiction Feast is a short story publication we can be very flexible about the length and type of fiction required. However, do read Fiction Feast every month to get the flavour of the magazine. Please note we rarely, if ever, publish stories written in the present tense. If writing with us in mind, please think carefully whether your story wouldn't work just as well in the past tense!

Please check the 'common plots to avoid' list (updated) above. Remember, too, that stories must be original, previously unpublished and complete in themselves. (Sorry, no serials) If you have good, strong 750 - 3,000 words, suitable for a family publication, I'd be delighted to consider it.

Presentation: as for Take a Break (see above)

Reading time: It can take 12 weeks for a decision to be made regarding your story. If you haven't had a verdict after 12 weeks, please drop me a line, giving me a brief synopsis of the plot, and date submitted. Include your telephone number (and e-mail address if poss.) and I will get back to you as soon as possible.

Payment: which is generally on publication, depends on published length, starting at £200 for a single page.

Usage Terms: First British Serial Rights with extended usage only across all media platforms

If you have any specific queries about submitting stories to Take a Break or Fiction Feast, I will be happy to answer them. Please write to me, Norah McGrath, Fiction Editor, Take a Break 24-28 Oval Road, NW1 7DT.