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But what exactly is Weird Fiction? It’s something I’ve addressed in those earlier volumes, to be sure. And as mentioned above it can often be unclassifiable and hard to precisely define. You’ll get varying definitions from different people. For the purposes of this anthology, I will crib a short note from a previous volume: In my view weird fiction is speculative, and often (but not always) works to explore and subvert the laws of nature, or the natural order. I like to think of it as an unceasing distortion and buckling of ambient space and time; where plot, theme, atmosphere and voice coalesce. Hence, the lens from which you view the world is askew and occluded. A feeling. A mood. A sense of dislocation. Weird fiction is a large umbrella, encompassing many modes of fiction. Before genre rules were established, weird fiction could be said to consist of the science fictional, the ghostly supernatural, the mythical, the cosmic, and the fantastic. An extensive mode of literature. In that regard it shares many properties with its Horror brethren. It’s why weird fiction is, I’d say, most commonly associated with horror fiction
My remit will be broad in scope. The alien. The other. The surreal. And sometimes simply the weird. As noted writer Simon Strantzas posits: “Instead, these sorts of stories exist in a liminal world of rationalities where things are not quite right. Slightly askew, their axis tilted, they are stories where the everyday is corrupted just enough that the strange can leak through.”
Weird fiction, perhaps more than any other mode, is fluid, adaptable, and ever-changing. I certainly take an expansive view of it, not constrained to the American-based strand (terror and awe) or the European-based (strange tale).
In short, if it’s weird or strange or irreal, and occupying a liminal space, floating between genres, I’m happy to consider your weird fiction.
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Market Genres
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Fantasy
Horror
Science Fiction
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Reprints
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Unknown
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1000 to 7500 words
Unknown
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Multiple Submissions?: No
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