Pure Slush

flash ... without the wank

Themes  /  Submissions

 

This page is comprehensive, so please look at the headings below and read the relevant sections before submitting to Pure Slush, especially for the first time
 


Current submissions:
 
• for online publication: click here
 
• for print publication: click here 
 

 
Other points to consider when submitting -
 
 
 
 
 

• Effective Writing - online presentations

 

• join the Pure Slush email list

 

If you submit for Pure Slush in print, please read Author Copies

  

Current submissions - for print

• for print publication ... 

We are currently not accepting submissions for print publication.

to top of page

 

Current submissions - for online

• for online publication ...

We are currently not accepting submissions for online publication.

to top of page

 

What Pure Slush is looking for

If you would like some idea (a guide) as to what we are looking for, click here.

to top of page 

 

Simultaneous Submissions

No, we don't accept simultaneous submissions, for online or in print. We like to think you're reserving your best work for us anyway!

Of course, we can't check that the same work you submitted to Pure Slush is or isn't submitted elsewhere, but we at Pure Slush are pretty upfront, so we expect the same of those who submit to us.

to top of page 


Payment

Pure Slush can't pay contributors money, favours or in kind ... but if you are in Adelaide, let us know and hopefully we can catch up for afternoon tea.

to top of page 

 

Author Copies

Pure Slush uses print on demand (pod), which means that when you order your Pure Slush book online, it is then printed and shipped to you. (And you can't order it any other way.) There are various services / websites that use print on demand, and the practice is not uncommon in online publishing.

So, in a nutshell, if you want a copy of a Pure Slush publication, you must pay for it. This includes writer contributors.

While no bleeding heart sob-story sympathy is sought, please be aware that if you submit work for a Pure Slush print anthology, if you want a copy, you will need to pay for it. If editors at Pure Slush want a copy, they too must pay for their copy. 

So, think about this before you submit, if it proves or will prove a problem for you. We would love to be able to give all authors their own complimentary copy, but that's not the system used.

Should you have any queries re this, please contact Matt Potter at edpureslush@live.com.au 

to top of page 

 

Publishing Rights

Pure Slush reserves the right of first publication for all work it publishes (stories and poems, fiction and non-fiction) unless the work has been published elsewhere before it was submitted to Pure Slush. This includes personal author blogs, websites, print and also self-publishing.

If the work has been published beforehand, the editors of Pure Slush should be notified where and when it was published, when the work is first submitted to Pure Slush.

It is industry practice that authors do not publish work scheduled for publication on Pure Slush, on other sites or in print beforehand, and Pure Slush operates under this same understanding.

Once your poem or story or essay is published on or by Pure Slush, it's out there. But until it is published on Pure Slush, then we expect what is the industry norm, and that is your work is not published elsewhere, including personal author blogs and websites.

Submission to Pure Slush constitutes acceptance of these terms.

to top of page

 

Tips before you submit

(This may sound stupid, but it’s best to check ...)

Is your spelling correct? (You should use the spelling that’s correct for your country. If you write colour, then write colour. If you write color, then write color.)

Is your word count correct and within submission word length limits?

Do you have too few paragraphs? (This is a common problem. Each new thought and speech should get its own paragraph, and almost always works better when broken up.)

Have you used terms or names or brand or product names that only a local (someone from your area) would understand? Here are some examples:

- a period in North America is a full stop in other parts of the English speaking world. Period only refers to a time span or the menstruation cycle outside North America, which it also refers to in North America;

- fanny outside North America means vagina, not ass, arse, bum, bottom, rear-end and the dozens of other words used;

- to nurse a baby in some countries means to hold it, while in others it means to breast feed it;

- a local brand of drink that carries with it social implications (and perhaps character traits) will mean nothing outside that local area (or country) unless explained or unless the name itself says it all.

Gratuitous references to Australia (where this website is based) always read like gratuitous references.

Does your submission (if fiction) fit the prescribed theme or prompt?

 

Lastly, good luck!

to top of page

 

Making the most of your writing

Pure Slush also has a number of online presentations which you can find by clicking here: Effective Writing

Here are just a few tips you might wish to consider:

• cut out all you don’t need. A sentence with 8 needed words is better than a sentence with 12 when you don’t need them all.

• write things in chronological order if your story is (basically) told in real time. It’s a common problem with writers and just causes confusion.

• avoid repetition unless it’s for humorous purposes or you are building up a rhythm. An exception is dialogue.

• use direct quotes (i.e. “quoted speech”) when you can. NOT using it creates a distance between the reader and what the writer is writing about. I told her not to do it because I don't like it. NO! This is much better: "Don't do it," I said. "I don't like it."

• use simpler words rather than more complex words, as they are much more direct. Her body and mind had slowed is actually more active and shows us much more than Her body and mind had deteriorated. Another example: The conglomeration was not pleasing. NO! (well, unless you are being funny!) The spots and stripes and bright colours made her eyes spin. YES! That's much better and actually tells us what's happening and the reaction.

• avoid adverbs: adverbs tell us what is happening, but don’t show us: She walked gaily down the street / She walked down the street, hips swinging. Which is better? The second, the one without the adverb! Many adverbs end in –ly and don’t do justice to most scenes. They modify the action and usually, an adjective used in the same sentence but used differently is much much more effective.

• avoid words like almost and probably and perhaps and mostly and other qualifiers like that (often adverbs of frequency). She almost called him. NO! Either she did, or she didn’t: be decisive. She picked up the 'phone, and put it down again. YES!

• use active verbs when you can: looked at and viewed and watched often mean the same, but looked at just sounds more active.

• avoid got and gotten. You can usually do away with got - there are other, better choices - and gotten sounds uneducated and childish. She got coffee and sugar off the shelf. NO. She took coffee and sugar off the shelf. Another example: She'd gotten used to him being around. Ugh! She'd become used to him being around. Dialogue is different, but again, how do you want your characters to sound?

• use the Simple verb tenses, and avoid the Continuous verb tenses:

She was walking down the street  /  She walked down the street

She is eating her breakfast  /  She eats her breakfast

The Continuous verb tenses used above are not good: the Simple tenses are shorter and punchier and much more definite. Avoid the Continuous if you can, unless in dialogue. If you don't know what these are, look them up in a book or online.

• new thought / new sentence

• new idea / new paragraph

• if in doubt, leave it out

to top of page