Logo 

Prices are in Canadian Dollars

We're taking submissions to the Into the Void Poetry from Nov. 1 through Jan. 31 for your chance to win $500 for your poem of up to 60 lines. Also prizes for 2nd and 3rd places. The three winning poems will be published in print and online in Issue 16. All entries come with a free one-year online subscription to Into the Void.

Submissions to Issue 15 are currently being accepted from Nov. 1 through Dec. 7 (visual art through Dec. 21).  **We are not accepting short story submissions this time around as the winning stories of the Fiction Prize will be published in Issue 15. However, we ARE accepting flash fiction submissions (750 words or less).** 

**Visual art submissions are accepted via email, not here, through Dec. 21. See our website for details.

Payment to contributors is $5 per printed page of the magazine + one copy of the magazine.

Until we reach our Submittable-allotted monthly free submissions limit, there is no fee to submit but free submissions fill up extremely quickly. Thereafter you may submit via the Tip Jar but free submissions will resume on December 1. Tip Jar submissions are a vital source of the income that allows us to run day-to-day, and are hugely appreciated.

Submissions are read blind--do not include any identifying information in your submission document, document title, or the title in the Submittable form.

Please only submit to one category per reading period, unless you are submitting via the Tip Jar, in which case there is no limit to how many times you may submit and how many categories you may submit to. 

Please make sure your submission is as you want it to be before you submit, as submissions cannot be edited once submitted.

If you are withdrawing only one piece of a multiple-piece submission, please leave a note in your submission instead of withdrawing it and re-submitting, as this uses up our monthly free submissions limit.

 Prizes

1st Place: $500 + publication in print and online in Issue 16 of Into the Void
2nd Place: $100 + publication in print and online in Issue 16 of Into the Void
3rd Place: $50 + publication in print and online in Issue 16 of Into the Void

Timeline

November 1: Submissions open
January 31: Submissions close
February 1: Shortlist announced
February 14: Winners announced

Rules

  • Poems must be a maximum of 60 lines, including line breaks and not including title. The line count will be strongly enforced: poems of more than 60 lines will be rejected without refund.
  • Poems must be unpublished in all formats including personal websites and blogs.
  • Poems must contain no identifying information in the document or in the title of the document or in the “Title” section within Submittable as submissions are read blind in keeping with Into the Void’s ethos of fairness and equality. The blindness policy will be strongly enforced: a submission that includes identifying information will be rejected without refund.
  • Simultaneous submissions are allowed but submissions must be withdrawn immediately when accepted elsewhere and will not be refunded.
  • This contest is open to writers based anywhere in the world.

Judge

Adam Levon Brown is an award-winning poet, mental health advocate/sufferer, and cat lover. He is the author of six poetry books and over 350 published poems. Adam’s work has been translated into Spanish, Albanian, Arabic, and Afrikaans. He won the 2019 Blue Nib Chapbook Award, and was twice shortlisted for the Erbacce Prize for Poetry. Adam is editor-in-chief of Madness Muse Press, a literary publishing press dedicated to enacting social change through the power of writing. He also volunteers as part of the social media team for the Oregon Poetry Association.

Adam is the author of poetry collection Break (Poetic Justice Books, 2019), a raw exploration of mental illness layered in self-reflection and introspection which simultaneously brings the reader to an awareness of their own vulnerability and humanity, awakening poet and reader to the reality of the world around us.

“A stirring exploration of trauma and healing…The collection’s greatest strength is the author’s wrenching honesty; it takes courage to reveal the realities of psychic pain, and these poems are braver than most in that regard.”
⁠—Kirkus Reviews

“Powerful and moving…Constructed in a vivid, free style verse, Brown’s poems bleed anguish and heartbreak and his feelings of desperation and powerlessness show the reality of mental illness.”
⁠—The Prairies Book Review

“Each piece speaks of the fragility of emotions, relationships, life influences, and states of mind. Each poem provides a piece to a puzzle, juxtaposed with each other to support a bigger picture. Break is recommended not only for poetry and literary collections, but as a reflective piece for mental patients and their families.”
Midwest Book Review

“Adam Levon Brown’s remarkable collection, Break, shaped as a connected series of poems of address, takes us with shaking hand and clear voice through the heart of family trauma, into the life that must cope with its consequences, and salvage from the nearly final wreckage the means not only of survival, but transcendence. It is a gift of light derived through confrontation, narrative inquiry, persistent yearning to say what is needed, and an arrival at voice that eclipses the narrative project. The poem-by-poem evolution of language matching with near perfection voice, leg by leg, to journey elevates this collection from remembrance to gift.”
⁠—Marc Zegans, author of La Commedia Sotterranea

Buy Break here

Fee

Each entry of a single poem costs CA$6 (US$4.50). There is no limit to entries per person. The money received from entries will go toward the prize money and judge’s payment, and anything extra will be used to cover the many costs of running Into the Void. None of the money received will go to any of the editors or staff of Into the Void.  Each entry comes with a free one-year online subscription to Into the Void which provides full access to our website including past issues and the four forthcoming issues of the subscription year.

Submit

Submit one poem of up to 60 lines including line breaks per entry at the button below. In submitting to the competition you are giving Into the Void First World Publication Rights should your poem be a winner. All rights revert back to the author immediately following publication.

**N.B. All entries are read blind. Do not include any identifying information anywhere in the document or in the document name or in the “Title” section in Submittable.**

Editor-in-Chief Philip Elliott will provide an in-depth analysis of your story of up to 7,500 words in big-picture terms (for more info on this and the other services Philip offers, visit https://paragoneditingservices.com/).

What is a Developmental Edit?

Developmental editing is the intensive and thorough examination of your story in big picture terms, focusing on the core intentions and goals of the story, the premise, the impact of the opening and ending, the economy and value of scenes in the middle, plot and character arcs, character development, pacing, what is essential/inessential, tension, intrigue, dialogue, language, imagery, sensory description, style, tone, narrative voice—the craft of the story and artistic intentions of the work.

When Does My Story Need a Developmental Edit?

When you have taken your story as far as you can by yourself but it is not finished to the standard you want it to be, or when you are not having much luck getting a story or stories published.

What is the Process?

I will read your story through several times looking at it from different angles and taking detailed notes under multiple headings, consolidating these notes into a clear, in-depth, and easy-to-understand review.


The review will offer examples of areas in the story that need work, with possible solutions, as well as highlighting what you’re doing right. I will also insert these extensive notes directly on your manuscript with Microsoft Word’s Track Changes function at each area to which they apply, making it easy for you to read/flick through your manuscript page by page and see each comment in chronological order.

How Long Does it Take?

 The current turnaround is about six weeks.

Editor-in-Chief Philip Elliott will provide an in-depth analysis of your use of language in your short story of up to 7,500 words (for more info on this and the other services Philip offers, visit https://paragoneditingservices.com/).

What is a Line Edit?

Line editing distinguishes professional from amateur writing. It addresses the creative content, writing style, and language use of your story at the sentence and paragraph level. Line editing does not comb your story for errors (that’s what copyediting is for) but looks at the way you use language to communicate your story to your reader.


  • Is the language of your story clear, fluid, and easy to read? 
  • Does it convey a consistent sense of atmosphere, emotion, and tone? 
  • Is your word choice accurate and appropriate, free of generalizations and clichés? 
  • Do redundant and overused words litter your story, or excessive adverbs and description? 
  • Does your manuscript contain run-on sentences and sentences that could be phrased more clearly and concisely? 
  • Is your story lacking in vivid sensory description? 
  • Are you overwriting, trying too hard to make your sentences beautiful that you’ve drowned your story under purple prose
  • Is your language overly plain and dull? Could passages and scenes be paced more effectively?

When Does My Story Need a Line Edit?

Line editing is the final step before submitting your story to an agent or publishing house, after you have finished writing the scenes and chapters that make up the story. The revisions you make to your story following a line edit will become the final draft. Line editing is the polish that lifts your story from great to excellent and can be the difference between it being accepted or rejected. The short story line edit can be a huge help when you are not having much luck getting a story or stories published.

What is the Process?

I will read your story through several times, combing each sentence, passage, and scene of your manuscript slowly and carefully several times, ensuring that I catch each area where the language could be improved.


The line edit is performed directly on your manuscript with Microsoft Word’s Track Changes function. Prepare for your manuscript to be covered in edits and comments explaining the edits! You will be able to flick through your manuscript edit by edit in chronological order, choosing to accept or reject each. Crucially, a line edit will not change your story unless you implement the advised changes.

How long Does it Take?

 The current turnaround is about six weeks. 

Editor-in-Chief Philip Elliott will provide an in-depth analysis of your short story of up to 7,500 words in big-picture terms and your use of language (for more info on this and the other services Philip offers, visit https://paragoneditingservices.com/).

What is the Short Story Package?


The Short Story Package is a combination of developmental editing and line editing for short stories of up to 7,500 words. Developmental editing is the intensive and thorough examination of your story in big picture terms, focusing on the core intentions and goals of the story, the premise, the impact of the opening and ending, the economy and value of scenes in the middle, plot and character arcs, character development, pacing, what is essential/inessential, tension, intrigue, dialogue, language, imagery, sensory description, style, tone, narrative voice—the craft of the story and artistic intentions of the work.


Line editing distinguishes professional from amateur writing. It addresses the creative content, writing style, and language use of your story at the sentence and paragraph level. Line editing does not comb your story for errors (that’s what copyediting is for) but looks at the way you use language to communicate your story to your reader.


  • Is the language of your story clear, fluid, and easy to read? 
  • Does the language convey a consistent sense of atmosphere, emotion, and tone? 
  • Is your word choice accurate and appropriate, free of generalizations and clichés? 
  • Do redundant and overused words litter your story, or excessive adverbs and description? 
  • Does your manuscript contain run-on sentences and sentences that could be phrased more clearly and concisely? 
  • Is your story lacking in vivid sensory description? 
  • Are you overwriting, trying too hard to make your sentences beautiful that you’ve drowned your story under purple prose
  • Is your language overly plain and dull? Could passages and scenes be paced more effectively?

When Does My Story Need the Short Story Package?

When you have taken your story as far as you can by yourself but it is not to the standard you want it to be, or when you are not having much luck getting a story or stories published.

What is the Process?

I will read your story through several times looking at it from different angles and taking detailed notes under multiple headings, consolidating these notes into a clear, in-depth, and easy-to-understand review, as well as combing each sentence, passage, and scene of your manuscript slowly and carefully several times, ensuring I catch each area where the language could be improved.


The developmental edit will offer examples of areas in the story that need work, with possible solutions, as well as highlighting what you’re doing right, and takes the form of in-depth notes on big picture elements that cover the story as a whole and scene to scene. The line edit is performed directly on your manuscript with Microsoft Word’s Track Changes function. Prepare for your manuscript to be covered in edits and comments explaining the edits! You will be able to flick through your manuscript edit by edit in chronological order, choosing to accept or reject each. Crucially, a line edit will not change your story unless you implement the advised changes.

How Long Does it Take?

 The current turnaround is about six weeks. 

Editor-in-Chief Philip Elliott will provide an in-depth analysis of the first thirty pages of your novel in big-picture terms and your use of language (for more info on this and the other services Philip offers, visit https://paragoneditingservices.com/).

What is the First Thirty Package?

The First Thirty Package is the quickest way to drastically improve the opening of your novel, your novel as a whole, and your writing in general. You will learn more from it than any number of writing workshops, and can apply these skills to everything you write thereafter.


The first thirty pages of your novel or novella is commonly what an agent or publishing house will require of you when submitting your novel for consideration. This means it is crucial the first thirty pages of your story are the best they can be, capable of hooking the agent or editor’s interest right away. The First Thirty Package is a combination of developmental and line editing for the first thirty pages of your novel.

A developmental edit is an examination of the effectiveness of the opening of your story, focusing on the the premise, economy of words, characterization, what is essential/inessential, tension, intrigue, dialogue, language, imagery, sensory description, style, tone, narrative voice—the craft of the opening and how effective it is at hooking your reader.

Line editing distinguishes professional from amateur writing. It addresses the creative content, writing style, and language use of the opening of your story’s opening at the sentence and paragraph level. Line editing does not comb your opening for errors (that’s what copyediting is for) but looks at the way you use language to communicate your story to your reader: 

  • Is the language of your story’s opening clear, fluid, and easy to read? 
  • Does the langauge convey a consistent sense of atmosphere, emotion, and tone? 
  • Is your word choice accurate and appropriate, free of generalizations and clichés? 
  • Do redundant and overused words litter your opening, or excessive adverbs and description? 
  • Does your opening contain run-on sentences and sentences that could be phrased more clearly and concisely? 
  • Is your opening lacking in vivid sensory description? 
  • Are you overwriting, trying too hard to make your sentences beautiful that you’ve drowned your opening under purple prose
  • Is your language overly plain and dull? Could passages and scenes be paced more effectively?

When Does My Novel’s Opening Need the First Thirty Package?

When you have taken your novel or novella as far as you can by yourself and are ready to submit it to agents or publishers, or when you are not receiving much interest in your novel from agents and publishers.

What is the Process?

I will read your story’s opening through several times looking at it from different angles and taking detailed notes under multiple headings, consolidating these notes into a clear, in-depth, and easy-to-understand review, as well as combing each sentence, passage, and scene of your manuscript slowly and carefully several times, ensuring I catch each area where the language could be improved.


The development edit of the opening of your story will offer examples of areas in the story that need work, with possible solutions, as well as highlighting what you’re doing right, and takes the form of in-depth notes. The line edit is performed directly on your manuscript with Microsoft Word’s Track Changes function. Prepare for your manuscript to be covered in edits and comments explaining the edits! You will be able to flick through your manuscript edit by edit in chronological order, choosing to accept or reject each. Crucially, a line edit will not change your manuscript unless you implement the advised changes.

How Long Does it Take?

The current turnaround is about six weeks.

Into the Void