TERMS & AGREEMENTS

By clicking on the 'submit' button, you are agreeing to the following terms:

1) The work you are submitting is an original work and belongs to you, the Contributor.  It is not a violation or infringement of any existing copyright or license and has not been previously published elsewhere.

2) The Contributor accepts responsibility for obtaining permissions for publication at your expense of any materials in which copyright vests in any other person or party.

3) You hereby grant Driftwood Press First North American Serial Rights for both print and online versions, as well as the right to republish your work in an anthology.

4) Driftwood Press has the right to make any revision to the work in the interest of uniformity and style, but will solicit the Contributor’s approval for substantive changes.

5) You understand that Driftwood Press offers payment for fiction, poetry, and graphic narrative contributions upon publication only if given a working Paypal address before or within one month of publication.

6)  You understand that Driftwood Press may withdrawal offer of publication at any time. 

7) If your work appears on our website, you may ask us to remove it at any time, and we will make a good faith effort to do so as soon as possible.

Overview: Driftwood Press is excited to announce open calls for our Editors & Writers Seminar, the second in a series of online classes that we will be offering! This five-week seminar will be most useful to three types of writers: (1) writers who are submitting to magazines and want  tips and tricks to fight through the slush pile to round two; (2) writers who want to be editors of short fiction or run a literary magazine; (3) writers who want to become better editors of their own and others’ work.

Each week, students will receive a video lesson from the course instructor (Driftwood Press’ Managing Fiction Editor James McNulty), one writing or revision assignment, a reading assignment, and detailed feedback on their previous writing assignment. In addition, students will also have access to a class-only Facebook group where work can be shared and where course materials will be available to class members. Those who take the class will also receive a copy of the brilliant craft essay collection On Writing Fiction (David Jauss), shipped directly to them near the beginning of the course. 


Application: Driftwood Press will choose up to twenty students for this inaugural seminar on a first come, first served basis. To apply, please provide the following:

  • Statement of Interest: A 200-word statement of interest detailing how this online course would benefit you or why you are interested.
  • Brief Biography: A short, 100-word biographical statement outlining any work history, editorial experience, publications, or upcoming projects you are involved in. 


Cost: Cost for the entire five-week course is $300.00 USD. The course-cost includes:

  • Five video lectures available exclusively to students.
  • Five assignments, two of which will be revision assignments.
  • Detailed instructor feedback on >500 words of prose assignments each week for all five weeks.
  • Digital reading assignments & access to a Facebook group where students can discuss and share work.
  • A copy of On Writing Fiction by renowned craft writer David Jauss delivered directly to you near the beginning of the course.


Lectures: The lecture topics are as follows:

(1) Common Missteps: Here, we’ll be looking through a hodgepodge of different mistakes that flag submitters as amateurish. This first lecture will be a head-spinning crash course on the most frequently botched craft issues at play in submissions. We’ll cover everything from the four modes of fiction (description, action, dialogue, and interiority) to stories that lack specificity to repetitive sentence structures.

(2) On Beginnings: Next up, we’ll work through roughly a dozen opening paragraphs and pages, looking for why an unforgiving editor could kick a story from consideration early on. We’ll also talk through some submissions that caught our eye on the first page and what made those stories stand out.

(3) From the Editor: An exploration of what it looks like on the editor’s side. This includes an explanation of how Driftwood is run as well as a walkthrough of the submissions manager from the editor’s perspective. We’ll talk about what exactly it takes for a submission to be rejected or accepted, and we’ll cap the lecture with a brief discussion of the financials of a literary magazine.

(4) Editorial Philosophies: What are the philosophies of an editor? Here’s a quick rundown on our philosophical editorial policies at Driftwood, including a talk on prescriptivism/descriptivism, the four types of drafts, mandatory changes, overstepping, and other related topics that will be useful to writers, too. We’ll wrap up the lecture by showing—in detail—a writer’s path to acceptance with us.

(5) Personalized Lecture: Based on questions and counterpoints brought to my attention by the class, this short lecture will be a hodgepodge of miscellaneous but relevant mini-lectures and questions answered.


Timeline: The class timeline is as follows:

  • March 1st – April 30th: Submissions open for application; first come, first served. Payment due upon application.
  • June 1st: Start of Editors & Writers Seminar! 
  • July 3rd: Final day of online course. 


About the Instructor: James McNulty holds an MFA in writing from Vermont College of Fine Arts. He’s been the Managing Fiction Editor of Driftwood Press for nearly a decade.

Overview: Driftwood Press is excited to announce open calls for our 2020 Erasure Poetry Seminar! This seminar is a five-week, in-depth look at the history, practice, and importance of erasure poetry. Each week, students will receive a video lesson from the course instructor, multiple tailor-made writing prompts, and detailed feedback on their writing. In addition, students will also have access to a class-only Facebook group where work can be shared and a Youtube channel where course materials will be available to class members. Those who take the class will also receive a copy of the wonderful erasure collection A Little White Shadow (Mary Ruefle), shipped directly to them. The course will culminate in a Showcase Booklet of students’ erasure poems available for free on Driftwood’s website and shared widely through our social media!


Application: Students will be accepted on a first come, first served basis. To apply, please provide the following:

  • Statement of Interest: Please include a 200-word statement of interest detailing how this online course would benefit your or why you are interested in learning about this unique type of poetry.
  • Brief Biography (optional): Please include a short, 100-word biographical statement outlining any work history, publications, or upcoming projects you are involved in. 


Cost: Cost for the entire 5-week course is $200.00 USD. Payment is due upon application. The course-cost includes:

  • Specifically made video lessons available only to students.
  • 3-5 tailor-made writing prompts for each week of the course. *these prompts will be made exclusively available to course students*
  • Detailed instructor feedback on 1 of your poems for each week of the 5-week course (totaling 5 critiques). 
  • A copy of A Little White Shadow by renowned erasure poet Mary Ruefle delivered directly to you at the end of the course.
  • A magazine-style Showcase Booklet designed specifically for course students and made available electronically (as PDF) on Driftwood Press’ website. 


Timeline: The class timeline is as follows:

  • March 1st - April 30th: Submissions open for application
  • June 1st: Start of Erasure Poetry Seminar! 
  • July 3rd: Final day of online course. (Showcase Booklet will be uploaded to Driftwood Press' website in August)


About the Instructor: Jerrod Schwarz teaches creative writing at the University of Tampa. His erasure poetry has been published in PANK, Entropy, Poets Reading the News, the Plath Project, and others. Most recently his erasure work has been featured in places like VICE and included in Make Blackout Poetry: Activist Edition . He has lectured extensively about the topic of erasure/found poetry to both undergraduate and graduate students. 

 Timeline

  • Submissions will be open from March 1st 2020 until July 1st 2020.
  • Finalists and winner will be announced by Driftwood editors in October 2020.
  • The winning chapbook will be published in early 2021.

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Guidelines

  • Poetry only. Prose poetry, experimental poetry, and poetry with a visual component (color images accepted) are all welcome.
  • 15-40 pages of poetry (this does not include title, section break, or acknowledgement pages). We won't turn you away if you are a few pages over or under, but please stay within that limit.
  • A standard, 12-point font is preferred. 
  • Poems may have been published individually, but never as a collection.
  • Simultaneous submissions are accepted, but please let us know immediately if the collection has been accepted elsewhere.
  • Submit works written in English only, no translations.
  • Please submit your manuscript in a .doc, .docx, or PDF format.
  • We read submissions blindly, so please do not include your name, email, or any identifying characteristics on the manuscript itself.
  • Base submission cost is $12. Additionally, we are offering a $20 dollar submission option that will include a print copy of the winning chapbook (US shipping only). We will ship once the winning submission is published.


Awards

  • The winner will receive $300 dollars and 20 copies of their chapbook.
  • A print run of the winning chapbook will be sold on our website, through affiliate bookstores, and will be nationally and internationally distributed by IngramSpark. 
  • The winner will also have the opportunity to be interviewed about their work; the interview will be published in the chapbook following the poems.
  • The managing poetry editor may offer a runner-up full publication in book form or partial publication within our bi-annual magazine. All finalists will be considered for publication.

​ 

Guest Judge

​Sandra Beasley is the author of Count the Waves; I Was the Jukebox, winner of the Barnard Women Poets Prize; Theories of Falling, winner of the New Issues Poetry Prize; and Don’t Kill the Birthday Girl: Tales from an Allergic Life, a memoir about living with disability. She also edited Vinegar and Char: Verse from the Southern Foodways Alliance. Her fourth collection, Made to Explode, will be published with W.W. Norton in early 2021. She lives in Washington, D.C., and teaches with the University of Tampa low-residency MFA program.  

 Timeline

  • Submissions will be open from March 1st 2020 to July 1st 2020.
  • Stories are considered by Driftwood editing staff (no outside readers); guest judge reads finalists.
  • Winner will be announced in October 2020.
  • The winning short story will be published in volume eight (2021).

Guidelines

  • Fiction only.
  • 1,000-6,000 word limit.
  • A standard, 12-point font is preferred. 
  • The work must not have been previously published.
  • Simultaneous submissions are accepted, but
    please withdraw the work if the story has been
    accepted elsewhere.
  • Submit works written in English only, no translations.
  • Please submit your manuscript in a .doc, .docx, or PDF format.
  • We read submissions blind, so please do not include your name, email, or any identifying characteristics on the manuscript itself.
  • Base submission cost is $10. Additionally, we are offering a $25 dollar submission option that will include a print copy of the issue in which the winning story is published.

​ 

Awards

  • The winner will receive $300 dollars and 10 copies of the issue in which the story appears. The winner will also have the opportunity to be interviewed about their work; the interview will be published alongside the story.
  • Last year, we selected two runner-ups. If a runner-up is chosen, their work will be offered publication, an accompanying interview, $100, and five copies of the issue in which their work appears.

Guest Judge

To be Announced...


$20.00
$20.00

 

What We're Looking For...

  • We strongly recommend reading a few of our issues to get a sense of the fiction we publish; the same senior editors who read the short fiction will read for the novellas.

Timeline

​​

  • Novella submissions are currently open. We’re hoping to publish our first novella in late 2020.
  • Novella submissions typically take six months. Feel free to reach out to us if you've been in consideration for longer.

​​

Guidelines

​​​

  • Fiction only.
  • 10,000-30,000 words recommended. We’ll consider works slightly outside of these parameters, but don’t push them too much. 40,000 words, for instance, is a novel, not a novella.
  • A standard, 12-point font and single-spacing is preferred. 
  • Excerpts of the novella may have been published individually, but never more than 50% of the novella.
  • Simultaneous submissions are accepted, but please let us know immediately if the work has been accepted elsewhere.
  • Submit works written in English only, no translations.
  • Please submit your manuscript in a .doc, .docx, or PDF format.
  • Base submission cost is $20. Additionally, we are offering a $30 dollar submission option that will include a print copy of our first novella. We will ship to the address provided on your submittable account

Awards

  • Any novella writer selected for publication will receive $400 dollars and 10 copies of their novella, both granted upon publication.
  • A print run of the winning novella will be sold on our website, through affiliate bookstores, and will be nationally and internationally distributed by Ingram. 
  • The winner will also have the opportunity to be interviewed about their work; the interview will be published in the novella following the story.
  • After the first 200 copies are sold, the writer gets 10% royalties. After 500 copies are sold, the writer receives 15% royalties. Copies bought by or awarded to the writer do not count toward the number of copies sold.

 Over the past five years, we’ve had the pleasure of bringing you a quarterly magazine featuring some of the best poetry, fiction, and visual arts on the web. As we transitioned to the new, biannual release schedule, we branched out in the form of contests, an editing service, and chapbook publications; now, we’re proud to announce open submissions for graphic novel manuscripts, which will burgeon our ever-growing catalog.

Some of our favorite graphic artists are Jaime & Gilbert Hernandez, Joe Sacco, Brecht Evens, Taiyo Matsumoto, Anders Nilsen, Jillian Tamaki, Christophe Chaboute, Eleanor Davis, Gipi, Simon Hanselmann, Michael DeForge, David Lapham, and Inio Asano.

What to Submit

Samples: We do not commit to publication from samples alone; however, if we are interested in the sample, we will contact you to learn more about the project. Please note: we do not match up artists with storytellers or vice-versa.

Full & Partial Manuscripts: You may submit either a full or partial manuscript.

You’ll generally hear back from us within a month. If a month has passed, feel free to reach out to check on the status of your submission.

Creator-owned

Driftwood Press employs a creator-owned model across all of its publications. You will always retain the creative rights to your work, and our traditional publishing contracts limit Driftwood Press’ ability to merchandise and franchise any of your work.

Payment

-Dependent on page count. Paid out upon contract signing.

  • 0-120 pages: $200 up-front
  • 121-150: $300 up-front
  • 151-180: $400 up-front
  • 181+: $500 up-front

-10% royalties for the first 10,000 copies

-15% royalties for all sales above 10,000 copies


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Agreement

I, [the creator or representative], am submitting to you, Driftwood Press, the following materials (“the Material”) in accordance with the following agreement:

  1. Submission Guidelines. I represent and warrant to you that I have read the Submission Guidelines on the Driftwood Press Submittable and agree to the statements, terms, and conditions set forth therein.  I agree that said Submission Guidelines are incorporated by reference to this agreement.
  2. Original Material. I represent and warrant to you, your successors, and assigns that the Material is originally created by me and that no other persons other than those who have signed this agreement have collaborated with me in creating and developing the Material.
  3. Submission Does NOT Constitute an Agreement. Your consideration of the Material and any negotiations between us regarding the Material shall not be deemed an admission by you of the novelty or originality of the Material.
  4. No Promise to Publish. I agree that your consideration of the Material does not constitute an obligation, promise, or agreement on your part to publish the Material in any format in whole or part.
  5. Retain a Copy. You may retain a copy of the Material and I release you from any liability for loss or damage thereto.
  6. Right to Use Material. I hereby grant you the right to use the Material, provided that: a) you shall first conclude an agreement with me for such use; or, b) you shall determine that you have an independent legal right to use the Material or any portion thereof which is not derived from me either because the Material is not new, novel, or original or has not been reduced to concrete form or because other persons (which may include your employees and other persons presenting materials to you) have submitted similar or identical suggestions, features, and material which you have the right to use.
  7. Applicable Law and Jurisdiction. This Agreement shall be construed solely under Florida substantive law and that the exclusive jurisdiction for any dispute shall be a state or federal court located in the City of Tampa in the State of Florida.   I agree that any claim against you, your employees, officers, directors, or shareholders based on the Material must be filed before the date of any statute of limitations or no later than within one year after the date of your first publication or other relevant use of the Material.
  8. Attorneys’ Fees and Costs. In the event of any dispute that requires dispute resolution, the prevailing party shall be entitled to receive reimbursement from the non-prevailing party for all mediation, arbitration, and other legal costs, expenses, and fees, in addition to any other recovery or award.
  9. Waiver. A party’s attempted waiver, consent or authorization of any kind to any breach or default under this Agreement shall not be effective or binding upon such party unless the same is in a written instrument which such party has signed.  Any such waiver, consent or authorization will be valid solely to the extent specifically set forth in such written instrument.  No failure or delay on the part of either party to this Agreement to exercise any right, remedy, power or privilege shall preclude or limit any other right or further exercise of such rights or the exercise of another right, remedy, power or privilege with respect to the same or any other matter.
  10. Severability. If a court of competent jurisdiction holds that any one or more of this Agreement’s provisions are invalid or unenforceable in any respect, such invalidity, illegality or unenforceability shall not affect any of this Agreement’s other provisions. Any provision of this Agreement intended to survive termination, including but not limited to those related to confidentiality, non-use, ownership rights, title protection, damages, relief and such other provisions shall survive termination hereof.
  11. Entire Understanding and Modification. This agreement constitutes our entire understanding and my signature and the signature of any person who has collaborated with me in the creation or development of the Material shall constitute agreement to the terms and conditions set forth herein. This agreement may be changed only by a written instrument signed by you and me. This agreement also applies to any other material which I may submit to you unless it is agreed by us in writing to the contrary. The invalidity of any provision of this agreement shall not affect the remainder, which shall continue in full force and effect.
$3.99
$3.99
Our stories share little in common outside of a love of language; well-crafted sentences and honed rhythm are a must for Driftwood contributors. Perhaps unsurprisingly, some of our favorite authors are William Faulkner, Virginia Woolf, Michael Cunningham, John Updike, Don Delillo, Graham Greene, and James Joyce. We stray away from young adult, fantasy, romance, novel chapters, and mainstream mystery fiction. While we're interested  in experimentalism and stream of consciousness (not auto-writing), we expect a story to have narrative momentum. For an example of unconventional narrative momentum, please see Russell Helm's "The Grass Cutter" in issue 3.4.

Writers can submit one piece of prose, no longer than 4,000 words. Please use single spacing, include a name on the first page, and make sure the document is '.doc' or '.docx' file type. Please do not submit PDFs unless it preserves stylistic decisions that may be affected by another file type.

This is the Premium Fiction submission area. For $4.99, you will receive either an acceptance or rejection within the short time of one week; one of our managing editors will receive $4.17 for his timely work, while Submittable will snag $0.84. At Driftwood Press, we understand that an artist's time is precious, and we are happy to provide this service for our submitters. The fee does not guarantee that your piece will be accepted! We judge each work fairly and with the same reverence we would want our own work to be judged with. Please also not that you will not be refunded if you withdraw before the week is over. Finally, we thank you for choosing this option of submission. This is the editors' only means of payment, and we are truly excited to find the greatest fiction in the most effective, timely manner possible. 

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Our stories share little in common outside of a love of language; well-crafted sentences and honed rhythm are a must for Driftwood contributors. Perhaps unsurprisingly, some of our favorite authors are William Faulkner, Virginia Woolf, Michael Cunningham, John Updike, Don Delillo, Graham Greene, and James Joyce. We stray away from young adult, fantasy, romance, novel chapters, and mainstream mystery fiction. While we're interested  in experimentalism and stream of consciousness (not auto-writing), we expect a story to have narrative momentum. For an example of unconventional narrative momentum, please see Russell Helm's "The Grass Cutter" in issue 3.4.

Writers can submit one piece of prose, no longer than 4,000 words. Please use single spacing, include a name on the first page, and make sure the document is '.doc' or '.docx' file type. Please do not submit PDFs unless it preserves stylistic decisions that may be affected by another file type.
$2.99
$2.99

Whether you are seasoned or a beginner brimming with poetic inspiration, we call upon your abilities. At Driftwood, we are devoted to finding poetry of the highest caliber; we seek poetry of literary importance. Some of our favorite poets are T.S. Eliot, Carolyn Hembree, Adrienne Rich, Gary Snyder, and Allen Ginsberg. Overly romanticized, antiquated, or colloquial poetry is not our focus. Experimental forms and content that reveals your unique style are welcomed.

Poets can submit up to three poems, each being no longer than 60 lines. If you submit more than three poems, only the first three will be read. When submitting, please send all poems in a single document. 

This is the Premium Poetry submission area. For $3.99, you will receive either an acceptance or rejection within roughly one week. At Driftwood Press, we understand that an artist's time is precious, and we are happy to provide this service for our submitters. You can submit up to three poems. Please, and we can't stress this enough, make for sure you include all poems in a single submission. In addition, the fee does not guarantee that your piece will be accepted! We judge each poem fairly and with the same reverence we would want our own work to be judged with. Finally, we thank you for choosing this option of submission. This is the editor's only means of payment, and we are truly excited to find the greatest poetry in the most effective, timely way possible. 

--

Whether you are seasoned or a beginner brimming with poetic inspiration, we call upon your abilities. At Driftwood, we are devoted to finding poetry of the highest caliber; we seek poetry of literary importance. Some of our favorite poets are T.S. Eliot, Carolyn Hembree, Adrienne Rich, and Allen Ginsberg. Overly romanticized, antiquated, or colloquial poetry is not our focus. Experimental forms and content that reveals your unique style are welcomed.

Poets can submit up to three poems, each being no longer than 60 lines. When submitting, please send all poems in a single document. 

 Individual graphic works may range from a single image to twenty-two pages of comic art. Please submit no more than five photographs unless they are in a series, in which case you may send up to twenty. Please send us the highest resolution possible for any visual art submission; a work may be denied simply on the grounds that the resolution is not high enough for publication. Upon acceptance, we may ask for a specific file type to publish with. If your work does not have a title, please label it 'Untitled'.

​We can serialize longer graphic works, but the first chapter of the work and a series outline must be presented before serialization is promised. If we accept your series, we will publish individual chapters of no more than twenty-two pages in each issue. Some of our favorite graphic artists are Jaime & Gilbert Hernandez, Brecht Evens, Anders Nilsen, Christophe Chaboute, Simon Hanselmann, Michael DeForge, David Lapham, David Mazzucchelli, Dash Shaw, and Scott McCloud.

 Genre
Poetry

 ​
Rates

1 - 3 pgs. of poetry: $15

5 - 10 pgs. of poetry: $40

small chapbook (15 - 25 pgs.): $100

large chapbook (26 - 44 pgs.): $175

small collection (45 - 65 pgs.): $250

full collection (66 - 85 pgs.): $350


Timeframe

We'll have the critique in your inbox in less than three weeks from the date of submission (full length collections may take up to four weeks); more often than not, the turnaround is much faster.
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Description
  

From the developmental option, you can expect a paragraph write up on each poem that addresses major concerns. If you are submitting a chapbook or full-length collection, I will also provide additional feedback on the collection as a whole. Though a paragraph write up is the standard, I do not cap my critique length and will take as long as necessary to provide an accurate critique of your work. Moreover, submitters are welcome to follow up for any clarification at all. 

Please note that going through this process does not place you in consideration for publication, nor will making our recommended fixes ensure you a spot in the issue if you decide to submit the work to us separately. All that this service offers is a detailed, comprehensive critique by Driftwood Press’ managing poetry editor; it is entirely separate from the submission process.

$30.00 - 500.00
$30.00 - 500.00

 Genre
Poetry


 Rates   

1 - 3 pgs. of poetry: $30

5 - 10 pgs. of poetry: $80

small chapbook (15 - 25 pgs.): $200

large chapbook (26 - 44 pgs.): $350

small collection (45 - 65 pgs.): $500


If looking to submit a full collection (66 - 85 pgs.), please reach out to us via our contact page; do not submit full collections through Submittable.

Timeframe   

We'll have the critique in your inbox in less than three weeks from the date of submission (full length collections may take up to four weeks); more often than not, the turnaround is much faster.​​


Description

From the line edit, you will receive extensive marginalia on each poem, in addition to the developmental paragraph(s) for each poem. Line edits may address things such as grammar and spelling, but these will certainly not be the only focus; you can expect notes on punctuation, enjambment, rhyme, meter, and other micro aspects. For chapbook and full length edits, developmental paragraphs will also be provided for the entire collection. The number of line edits may at times seem more exhaustive than a traditional workshop critique, and that is what I purposely strive for; I'll spend as much time as necessary discussing the edits and every submitter is welcome to follow up with any questions. Often, I'll also include recommended reading (usually craft essays, poetry collections, and applicable poets).

Please note that going through this process does not place you in consideration for publication, nor will making our recommended fixes ensure you a spot in the issue if you decide to submit the work to us separately. All that this service offers is a detailed, comprehensive critique by Driftwood Press’ managing poetry editor; it is entirely separate from the submission process.

Driftwood Press