Green Hills Literary Lantern
Beginning with Volume XVII (2006), GHLL became an online, open-access journal.
GHLL welcomes submissions of manuscripts, poetry, fiction and nonfiction.
The GHLL is published by Truman State University
Manuscripts: Both snail-mailed and digital mss are fine, (in .doc, .rtf or .txt formats only, please no .pdf), emailed as attachments to Adam Brooke Davis. Please enclose SASE if you wish the ms returned, or for reply only (we will recycle your ms). Please include an email address. Volume of submissions seldom permits individual responses. We welcome work from established writers and newcomers alike. No payment. GHLL takes first time rights. We read year-round, and publish a new edition in June/July. Reporting time 3-4 months. Writers whose work is accepted will be asked to send a digital version along with a short (50-100 word) bio. Writers are strongly urged to read several sample issues in order to learn what sorts of things we prefer. Send mss to: Green Hills Literary Lantern, Dept. of English, Truman State University, Kirksville, MO 63501 Please specify attn: fiction, nonfiction or poetry
Poetry: Submit 3-7 poems, typed, one poem per page. There are no restrictions on subject matter, though pornography and gratuitous violence will not be accepted. Obscurity for its own sake is also frowned upon. Both free and formal verse forms are fine, though we publish more free verse overall. Poems of under six lines or over two pages are unlikely to be published. A genuine attempt is made to publish the best poems available, no matter who the writer. We try to supply feedback, particularly to those we seek to encourage. -Joe Benevento
Fiction: We accept short stories, short shorts, and excerpts from novels, if they have stand-alone coherence. The canonical length of the contemporary short story is probably 15-18 doublespaced pages. We accept simultaneous submissions but discourage multiple submissions, though 2-3 “short shorts” are acceptable.
What do we like? There are stories I read thirty years ago and still remember. We try to find that sort of thing and publish it. Sometimes it’s a compelling dramatic situation that grabs us by the throat in the first paragraph and won’t let go till the end: Frank O’Connor’s “Guests of the Nation” asks us to imagine what it’s like to be a basically decent sort of person who takes hostages and kills them. We’re not much for alt-worlding, but really good fiction can and does get set in realms that do not exist: you wake up one morning and discover you’ve been transformed into a large insect. Deal. Might be a poignant character we can’t forget, like the protagonist of Joyce’s “Araby,” even if what we remember is profound dislike (“This is My Living Room”). Maybe a setting, like the town in Lardner’s “Haircut.” And maybe it’s style, or a philosophical conundrum given intense emotional embodiment. LeGuin’s “The Ones Who Walk Away from Omelas” scores high on both. We’re not crazy about the Big Reveal and the Twist Ending, mere cleverness. Faulkner’s “A Rose for Emily” endures in spite of, not because of that stunt. Very unlikely to publish overtly inspirational material, or genre stuff that doesn’t do anything particularly interesting with the conventions and stage-machinery. We like craft; Alice Walker's classic "Everyday Use" has everything, including a genuine MacGuffin.
Creative Nonfiction: GHLL accepts essays, memoirs, travel-writing, excerpts from larger works, genre-blurring work, and all forms of prose that can be considered "creative nonfiction." What goes for fiction (size-wise, acceptable-content-wise, etc.) can generally be applied to what we're looking for in nonfiction. Admittedly, these guidelines are as open and ever-changing as the elusive/innovative genre of CNF itself, so it's up to the author to make the call and take the chance and see what happens. -Adam Brooke Davis