ISSN: 20430701
Online ISSN: 2043071X
First published in 2011
2 issues per volume
Current Issue:
Volume 3 / Issue 2 Free Issue
Volume 1 | Issue 1
Call for Papers

For current Call for Papers please click here.

Download the FICT Notes for Contributors

Short Fiction in Theory and Practice
provides an international forum for all those writing, reading, translating or publishing the short story, in all its diversity – including flash fiction, the novella, cycles, sequences, anthologies and single-author collections; hypertext, popular fiction (e.g. science fiction, horror), the prose poem, the non-fiction story and other hybrid genres. It looks at the short story from the practitioner’s viewpoint; we are concerned with the ongoing process and philosophy of composition rather than the ‘post-event’ dissection of literary texts.

Contributors also discuss cultural and political contexts, especially the short story’s role as an outlet for marginalized or dissident voices. Additionally, the journal addresses the interface between the short story and other media, looking at film, radio and stage adaptations, and at work which crosses artistic or disciplinary boundaries. In keeping with a form which owes so much to Chekhov, Maupassant, Kafka and Borges, the journal takes a transnational approach, considering fiction first published in languages other than English, and publishing translations. There is scope for other creative work when it is accompanied by, or embodies, a critical element or investigation of poetics, but those wishing to submit such work should consult the editor in the first instance.

While all submissions are peer-reviewed, we aim to be inclusive. Contributions are welcome from individuals who do not consider themselves academics, and may take the form of personal commentaries, reflections, interviews and reviews, as well as conventional essays. We are pleased to consider proposals from those publishing or promoting the short story, as well as from short-story writers.

Until recently, debates on the short story tended to be motivated by the need to validate its credentials as a specific genre, clearly differentiated from the dominant prose form, the novel. Because the short story was sometimes dismissed as an apprentice piece, or a stunted attempt at a novel, short-story theory was driven by the search for generic definition. Now we have the confidence to move on from a preoccupation with classification, celebrating difference rather than imposing formal unity. With that in mind, Short Fiction in Theory and Practice intends to highlight innovation in short-story writing, critical research and transmission across national, linguistic and generic boundaries.
 

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