Submissions

Submitting to Conjunctions

PRINT ISSUE

We will accept submissions for our fall 2024 print issue, Conjunctions:83, Revenants, The Ghost Issue, via Submittable from May 13 – June 1, 2024. All submissions will also be considered for our weekly online magazine.

Note: If you miss the Submittable window, we are also open for submissions by postal mail year-round. Please see below for instructions.


ONLINE MAGAZINE

Submissions are open year-round by postal mail for our biannual print issues and weekly online magazine, which is not subject to thematic restrictions. Please see below for instructions.
 

HOW TO SUBMIT

Submissions are open year-round by postal mail. To submit via mail, please send your manuscript to our editorial office (address below) with a brief cover letter including your name, address, and email. In order to receive a response, you must include a self-addressed envelope stamped with sufficient postage for our reply and for return of your manuscript (if requested). Do not send submissions by any delivery method that requires a signature. 
 
Address mail submissions to:       Bradford Morrow, Editor
Conjunctions
21 E 10th Street, #3E
New York, NY 10003

While we can’t predict exactly when an issue will close to new work, we typically read into August for our fall issues and into February for our spring issues.

Submissions will also be accepted electronically via Submittable twice a year, during our fall and winter reading periods. Please check back here or follow us on Facebook and Twitter or subscribe to our newsletter for the earliest information about our reading periods for each issue.

If you'd like to submit to Conjunctions outside of our fall and spring Submittable periods, please submit via postal mail. 
 

WHAT TO SUBMIT

Conjunctions publishes short- and long-form fiction, poetry, creative nonfiction, and hybrid texts. We do not publish academic essays or book reviews.

All submissions must be in English and previously unpublished. We will consider works in translation for which the translator has secured the rights.

Although we have no official restrictions regarding word count, most of the manuscripts we select for publication are under eight thousand words long. For poetry submissions, we suggest sending half a dozen poems, depending on length.

We strongly suggest that writers new to Conjunctions read our recent issues to acquaint themselves with our publications. Subscriptions are available here.
 

ACCESSING CONJUNCTIONS

Are you familiar with our work? Sign up for our newsletter to read new writing in our online magazine every week, subscribe to our print biannual, or order a back issue.

If a disability prevents you from using Submittable, please call 845-758-7054 or email [email protected].

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Submissions

In Print

Vol. 82
Works & Days
Spring 2024
Bradford Morrow

Online

July 24, 2024
On Valentine’s Day, Milo strings a horse-shaped piñata from the ceiling light in our living room, and I walk by twice before noticing it swaying there. The light is off and the horse is dark, but I am not unobservant. Part of me accepts a horse swinging in my periphery. Milo makes up a real reason for me to go back down the hall and, when I look for the space heater, I find the horse hanging. He dangles from a yellow jump rope, and I am so happy to see him in my house. Milo hands me the stick. “You need,” he says, “to kill a horse.”
 
July 17, 2024
There is the man on the moon. Go to him. Get bread from him, drink his water. Take your dog, Blue to him. Take your mother. She is skiing outside around the house. Stop her, tell her that Blue is going also. Take the gander, Henry. He is short in the legs. Leave me Iris. I have seen her eat feed in a pattern.
 
July 10, 2024
Marcie decided on Vertigo because she’d recently encountered several texts in quick succession that made extensive reference to it: Chris Marker’s time travel film told in still images, La Jetée, Terry Gilliam’s unlikely Hollywood adaptation, 12 Monkeys, and a story by Bennett Sims called “White Dialogues” about an embittered academic seething in an auditorium during a lecture being given by the hot new thing in Hitchcock studies. The coincidence made her feel involved with the film, and vice versa, in a way that evades more specific description.