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by Prisha Mehta Content Warning: This analysis discusses themes and scenes involving graphic imagery, including gore, blood, self-harm, sexual violence, and psychological trauma. Reader discretion is advised. When we hear the title The Vegetarian by Han Kang, one assumes it’s literally about vegetarians. However, there’s a much more profound meaning behind it. It shows how an ideal life begins to fracture after the protagonist becomes vegetarian. It isn’t about whether one eats meat or not, it is about how a vegetarian is perceived in society. As a novel itself, it’s a difficult read, and I had to re-read a couple of parts to truly grasp the intensity of the meaning and understand the finer nuances of the book. The language was easy and simple, yet the way it's written evokes a myriad of feelings in the reader's mind. The novel is set in South Korea where shifting to vegetarianism is seen as an act of social rebellion. Yeong-hye is first shown as an ordinary, submissive housewife, living quietly and never questioning social expectations. Her life begins to unravel after a series of violent dreams compel her to give up meat, setting the stage for her eventual mental transformation into a tree. The novel is centred around Yeong-Hye, yet her voice is never directly heard. The book is divided into three parts, initially we see it through the protagonist’s husband’s lens. The story starts with perfect domestic scenes, which shifts when the usually docile Yeong-hye gets a grotesque dream and stops eating meat. The moment her refusal and opinions are seen, we see how quick he is to dismiss her. He entrenches this objectification when he says “My wife, in other words, was completely unremarkable in every way.”, erasing her individuality. His callousness towards her is shown when he asks her to stop dreaming, as if she could attempt to control the unconscious. Furthermore, his insensitivity emerges when he insists she attend the dinner with his boss, dismissing her discomfort, and again when he forces himself upon her at night, as though her resistance were irrelevant to his desires. In the second part, she is yet again decentralised. Part two is narrated from her brother in law’s perspective, and she is once again seen as an object. Her brother-in-law sees Yeong-hye as a sort of means to an end, since he fantasised about her Mongolian mark, an apparent artistic obsession. We see his indifference towards her mental health and emotional well-being or consent to an extent. His interest lies in her as a sexual object, fantasising about her and her emaciated body. The third part is narrated by her sister In-hye, and she takes us back to Yeong-hye’s childhood through flashbacks. These flashbacks show how patriarchy impacted their household, from being brutally beaten up by her father to the silent compliance from the mother. This early violence, both physical and psychological, had such an impact on Yeong-hye that we see the sudden traumatic dreams she’s inflicted with. The psychological effect must have run so deep that it inadvertently led to her refusal to eat meat. The author’s incorporation of the graphic imagery, particularly in the vivid details of Yeong-hye’s dream, leaves an imprint in the reader’s mind; it reinforces the violence’s allegorical significance. The grotesque sequence “A long bamboo stick strung with great blood-red gashes of meat, blood still dripping down. Try to push past the meat, there’s no end to the meat, and no exit”, creates a claustrophobic confrontation with flesh. This is once again intensified by lines like “Blood in my mouth, blood-soaked clothes sucked onto my skin” and “Pushed that red raw mass into my mouth, felt it squish against my gums, the roof of my mouth, slick with crimson blood.” The repetition of “My bloody hands. My bloody mouth” restates the sensory violation as an identity marker, once again illustrates how deeply the trauma is imprinted upon her body and psyche. It is a mental transformation into a tree rather than a physical metamorphosis, one that unfolds as a psychological and metaphorical process. This transformation symbolizes Yeong-hye’s gradual withdrawal from human society, and it can be read in two ways, either as her descent into complete madness or as a radical rebellion against humanity itself. She begins to reject food, seeking instead only sunlight and water, and comes to describe her veins as roots burrowing into the ground. These moments cause the line between reality and imagination to blur. This is when she reached the point of an absolute breakdown, dissociating from humanity completely. This leaves such a strong psychological impact on her that she not only stops eating meat, we see she thinks of herself as a tree. We see a mental metamorphosis as a result of a mental breakdown. The consequences of her actions percolate and affect her family members mentally, emotionally and physically. This shows us the importance of mental health and lack of concern towards it evolves into a sort of paranoia. The novel fits partly into post-humanism, which challenges human-centred thinking by recognising the agency of the external environment, and then entirely into non-humanism, where animate and inanimate things exist on the same continuum. Yeong-hye challenges the traditional humanist view, that humans are central to the universe. It expands our sense of consciousness to include rocks, nature and even inanimate matter. It also acknowledges animal consciousness and communication abilities. It also challenges how humans have treated animals throughout history. Yeong-hye shifts towards a more fundamental connection with the universe through a simplified almost pre-linguistic mode of being. Ultimately, The Vegetarian is not an easy read. Its unsettling imagery, fragmented narrative, and emotional intensity require patience and reflection. But it is precisely this difficulty that makes the novel unforgettable. Kang forces us to confront questions about autonomy, gender, violence, and what it means to exist beyond humanist boundaries. A disturbing yet profound meditation on the body, identity, and freedom, The Vegetarian lingers long after the last page leaving readers questioning not just Yeong-hye’s world, but their own.

by Skylar Edwards Writing can be challenging, especially when it comes to choosing the perfect word. We’ve all been there, in the middle of a sentence, with a word on the tip of our tongues. You find a placeholder, but it’s not the right one. It doesn’t correctly emulate that feeling that lies within. You find yourself wishing that you could translate yourself without any hindrance. A solution to this problem is to learn more vocabulary words.  Expanding our lexicon is beneficial to us as writers because it allows us to have a greater understanding of our craft. Sharpening our understanding of language allows us to effectively communicate with our audience; you will be better equipped with terms to accurately express yourself and your characters. Additionally, when we are searching for a word, we will have a wider word bank to choose from.  Learning vocabulary doesn’t have to be this big, scary thing. It doesn’t have to be all-encompassing—unless you allow it to be. You may ask yourself these questions: is this word specific to a certain genre? Am I looking for an emotion? Maybe you are just trying to describe how a character looks. There are many literary blogs, like those on Tumblr, which are created for this exact purpose. For example, I may be trying to describe how a character walks into a room. I see it in my mind, but I need some help. Therein begins the search for the perfect expression. Tumblr is a great resource for learning words that are specific to your situation. I’ll browse a blog and learn how I can accurately relay the image in my mind. For example, “he walks into the room” becomes he bounced, ambled, ran, or lurched etc.  Sometimes, you might just need a word that sounds more appropriate. You might find yourself composing a poem that calls for polished words. You’re trying to find another word for cat, but you’re blanking. In this situation, a thesaurus would aid you. Additionally, there are sites like WordHippo that provide synonyms, antonyms, and definitions. Using these resources, you may realize that feline fits into the poem better than cat.  In general, the best way to learn unfamiliar words is to read. Reading can include short stories, novels, poetry, or whatever your heart fancies. Find words that intrigue you, and that fit with the vibe of your writing. As you read, it’s important to keep track of unfamiliar words and words that you know but find interesting. When I read a novel and come across new words, I jot them down in a notebook with their definitions. Yet, there is much more that goes into the expansion of your literary knowledge. Learning must be interactive, or it won’t stick. There are a multitude of apps waiting—like Quizlet—to help you study. These expressions should also be used in writing exercises. For example, do a short story, drabble, or poem using five of the words. Writing is a convenient way to commit the new terms to memory. In addition to writing, use them daily: in email, in conversation, and in text messages. The more you use, the more comfortable you will be.  Remember that while expanding your vocabulary can affect your work tremendously, it is completely acceptable to have what may be considered a small vocabulary. Great writing does not always include what we may think of as sophisticated vocabulary. Distinctive styles require different words. Nevertheless, an expanded vocabulary can benefit you as a writer.

Issue IX : Welcome to Wonderland was met with a variety of submissions providing some of the most epic reads. From stories of enjoyable carnival rides to tales of something much darker lurking behind smiling faces, we got to experience it ALL!! So, what better way to celebrate these pieces than to share the inner thoughts that the writers had as they created them. We've mainly included pieces where the writers had more to say about their process and inspiration. Keep on reading to know what these pieces meant to them! POETRY A Trip Into Memory Lane - Ivory (@astra_written)  This piece depicts a carnival worker being part of an accident that kills those on the ride they work. I wanted to subtly depict the less glamorous side of wonderland, that still becomes a spectacle. There are a lot cases of inguries and accidents at carvinals, fairs, circus's and some of those are complete accidents, and others were entirely preventable. I think its interesting to consider the specatcle side of wonderland in this darker way, almost like these places entice you in with a sense of thrill and new experiences, and the danger is marketed as part of the fun. Even the performers themselves in circus' train a lot to make sure the risk of harming themselves and other performers is as low as possible. (i love the circus and fairs btw) Beware the Carnival - S. Parmele (@sophiaa_parmele) It’s basically about a haunted carnival wonderland or the downside to it. While it uses characteristics of “wonderland” it’s meant to represent larger themes such as self esteem, addictions, etc. Wonderland - Noor ul Ain Ahmed (@noorativ.diaries) "My poem, 'Wonderland', delves into the unsettling experience of ‘Alice in Wonderland Syndrome’ a neurological disease characterized by a person having an odd perception of their own body or the world around them, making them feel alien and bizarre. Through sensory details as well as an imaginary, almost utopian setting, the poem explores the disorienting voyage of someone slipping into a world where reality bends and wraps. The twisted version of Wonderland becomes a metaphor for the altered states of consciousness, where every step further down the rabbit hole blurs the lines between what is real and what is imagined. Initially, I saw Wonderland as a metaphor for the unconscious mind, where mental illnesses like schizophrenia can emerge, distorting one's perception of reality. But then I added a unique twist, exploring the concept of 'Alice in Wonderland Syndrome', where bizarre physical experiences, like sudden changes in body size, can occur. The title's reference to the neurological disorder suggests connections to Lewis Carroll's story. Yet, subtle undertones also suggest the poem might be about the altered states induced by drugs, where individuals experience a kaleidoscope of emotions, detachment from reality, and a carnival of voices in their minds. My poem leaves the reader questioning its true meaning. Thus, the theme has close ties with my poem, I describe the carnival scene happening in the person's head, an individual stripped far away from reality and red herrings that allow you to add diverse elements to the poem. On the surface, this poem is about Todd's syndrome but as a reader, you have creative freedom to analyze this poem in any direction you want. It can be be about a person experiencing a high-time, euphoric dopamine release from taking drugs or a very ingenious character that might be imaging a bizarre scenario or someone who's just having an unusual dream. The possibilities are endless!“ Roller Coaster - L.R Anderson (@FantasticFantasy._) I wrote this piece with the song wonderland by Taylor Swift in my head and I wanted it to showcase the magic of a new experience and finding love in an carnival under the strung lanterns and stars glimmering above; an experience I consider to be rather forgotten in these modern times. Misfortune - Elizabeth Maxwell (@lizniprose) "My poetry piece is written in the form of a Dizain. It draws on the setting of a carnival most. with the ""lights"" and the ""teeming crowds."" I also included a fortune teller into this idea of longing for love and feeling like it is always out of grasp. The narrator believes her fortune must be wrong if she is present in a place that's meant to be so full of joy and love, and yet she is unable to find her one.” wonderland's call - Chaitra Shidhalingannavar (@imcnonymous) I think this poem represents wonderland not just as a physical place, but a state of mind where the boundaries between reality and fantasy are blurred. It explores the themes of self-discovery, longing and identity. It begins with the search for solace amidst chaos, but ends in harmony with it. Born to Flee - Carrie (@c93rie) "Through using carnivals as a repeated motif, my piece expresses how dreams gradually glow fainter as we grow older. By portraying carnival rides as an imagery of childhood memories, I aim to evoke feelings of nostalgia, allowing the reader to reminisce about the short-lived rides and the fun we associate with them, at last connecting it to the broader theme of lost dreams.  Furthermore, by bringing the sky-wheel to life and incorporating a conversation between it and the narrator, I hope to add a lively touch to the otherwise silent carnival at night. Overall, I believe this small element enhances the sense of mystery and fantasy, which many imagine when reminded of the echoes of a carnival. “ Carnival of the Stars - Rose Phoenix (@blazing_blossoms) Well, I took some of the things expressed plainly in the prompt. Like the carnival setting, for example, the misdirection and distortion. Then I sprinkled in my imagination, and the strange twists and turns of navigation this imagination of mine. It also paints images that flashed in my mind as I read over the prompts.  Cat People - Gabriella pitts (@frankeng1rl) This poem is based upon a film called Cat People, which was a veiled metaphor for the repression of female sexuality and mental health. I believe it suits the theme because of the caged animals of a circus, which is how the narrator views herself. A caged animal who will die where she’s trapped. Neon Faces - Gina Hui (@dollface_magazine) I chose to write about a carnival setting, specifically a carousel and I used it as a symbol of spiralling out of control. It mirrors how me and most people feel, and how we disguise it with superficial joy. Crowd of One - Theodore Gray (@_worlds._.muse_) its from the view point of a person stuck within himself. He surrounds himself with bravado to navigate the stage called life and suffers from paranoia, loneliness and depression{all are mentioned symbolically in the poem. Nothing is expressed vividly, hence i assume no need for disclaimers.}. The poems talks about this duality. The Brightest Star - C. Poserio (@pristineagony) "Instead of all the flashing lights and loud noises one would usually find in a theme park, there are some parts somebody can find some peace with a special person, like at the very top of a Ferris Wheel, right above everyone and everything. And despite all the noise, there's a special feeling when you take a break from the overwhelming nature and find that lovely, silently shared moment.” Take Me Back - Sakura (@drifting_tempest) "Take Me Back" tries to connect the themes of childhood, nostalgia and attending carnivals with friends. While the theme tries to welcome the person into a land of joy and never-ending magic, this poem offers closure by speaking of carnivals as a thing of the past. By counting till 16, and using the elements we see in fairs or festivals, the lines resonate with the childhood part that's stuck within all of us. When things were easy and dreams were like cotton candy, we could go on care free. Carnivals, hanging out with mates and such like, are what implies this poem is connected to a "Wonderland" of childhood.” Portrait of a Contemporary Angel  - Julia Hui-Ming Howe (@justjuliafied) Portrait of a Contemporary Angel captures a darker side of the Wonderland theme by portraying the surreal and exploitative world of child performers. When every aspect of yourself is turned into a spectacle, when your sole purpose is to entertain, what part of yourself will remain?  Not a wonderland. - Radhey (@radhey_mani) Wonderland is often perceived as a positive emotion, to which I agree. At the same time, not everyone's definition of wonderland is co-related to happiness. Through my piece I wish to convey a different, darker version of wonderland, one that reflects the struggle of millions of women who try to rise strong even after experiencing sexual assault (SA). It also aims to reflect their strength and resilience, how they try to defy their pain, and how they reclaim their power and dignity. Welcome to Wonderland - María Miralles Viu (@miralles_viu) The poem tells the story of how sometimes you can get so caught up in the flash and razzle-dazzle of a person that you don't realise it can be all fake. It's about trusting too quickily, getting lost in Wonderland with no way to make it back home because what was home before them anyway? carnival nights - Mee (@mees.quill.pen) I've basically written about how the world itself is a wonderland, a carnival, because there are always new and strange twists and turns that aren't always particularly brilliant and yet people choose to go through them every day and every night. Wonderland’s Wonders - Kalia (@ckrayonkid) It tells of a carnival that welcomes everyone, no matter the circumstance, and allows them a chance to explore what brings them joy. From the performances to the dazzling lights, no soul too weary for this carnival party. PROSE Never-ending Ride - gillian (@gill._.iannn) My piece is about finding both solace and terror in the meaningful memories of the past. In the beauty and chaos of the vivid moments where people continuously come back to, like going through your favorite ride over and over again just to feel something whether it’s the sheer adrenaline rush from the lights and movement or the chilling atmosphere when it makes you dizzy and nauseous.  Inheritance - Lucy Radcliffe (@bylucyradcliffe) My piece plays with the idea of 'wonderland' in a more chaotic space. There is a deeply personal and emotional landscape presented which plays with reality as it blends with distorted realities. The piece pushes the boundaries of what is real and what isn't, with the first person narrative and personal connections, it is even tip-toeing the sometimes blurred lines between fiction and creative non-fiction. The carnival setting is a modern-day wonderland, bright, loud and dizzy. The spinning rides and disorientating experiences within the port-a-potty, (the typical bathroom at these port-a-pottys) reflect the protagonists inner turmoils with grief of a parent, addiction and the fear of inheriting such struggles.  The Ferris Wheel - Isabelle Villanueva (@izzu_v) Taking place at a school carnival, the story explores magic in perhaps its most realistic form: the power of the present. A magic that the main character, Heart, comes to find for herself by the end of the story. The Ferris wheel in particular is a place that I feel is one of the most transportive places in a carnival. High above the glittering lights and sweet smells, you are quite literally in the middle of all that chaos yet somehow detached from it all at the same time. Anything could happen up there. And sometimes, the thought of those endless possibilities is all it takes for something to be somebody's wonderland.  Not-Eliza - Owl (@owl_writes) Most of the story is set in a carnival where strange things happen to the main character, Eliza. Gooey, black creatures lurk in the shadows and in the maze of mirrors. Yet, these creatures aren't as they seem. The Lantern Holder - Nina V (@kyothena) I wanted to explore the theme of the carnival by mixing it with a magical, eerie feeling, because I feel like it is the perfect setting to add fantastical elements and highlight the wonder that one can feel when entering a circus or carnival. I also chose to add a sadder twist because I think that by its anticipation it allows the reader to feel a sense of mystery and be more intrigued by what is happening, which allows them to be fully immersed in the word made wonderland. Smiles Plastered On - Myra Gupta (@_.myraguptaa) Smiles plastered on explain the bitter irony of the world and how the joys and jollies that were celebrated are cast aside. How demoralizing it must be. Deprecating insecurities bloom into those who don't find themselves a home and lead their lives into a pit of despair. Every human in the world is doomed and yet, everyone waits for their entry to their wonderland.  welcome to the carnival - Yunseo Choi (@writtenbyyunseo) It describes a horror setting of a carnival, with elements that twist reality and give surrealistic elements to the situation. It also portrays a world in which the entire construct of reality is upended, showing a 'Wonderlandian' kind of scene in which the protagonist is victim to the pitfalls and terrifying scenarios of the world. The Once Familiar Place - FJGCSABA (@Malkia Padduyao) Since it has this carnival vibe, I decided to make a short story about a girl who used to love going to the carnival, but, she outgrew it, as she grew up, thats when she realised how much she loved it  red and white and red - Esther Joji (@_estha__x_) I wrote about a mirage of a wonderland tucked into the corner of my mind amidst the chaos that usually goes on there. The wonderland seems all fun and games from the torture and heartache you've experienced, but just when you reach your peak, you come tumbling back down. My poem encapsulates the entrapment and cycling of our intrusive, degrading thoughts- like an ambulance signal, going red and white and red, with very little room to escape. It can also be interpreted as feelings of PTSD or trauma, where the past haunts your present, and where you savor the few moments of peace and forget that comes with it.  The Peculiarities of Ophelia Roux - Joy Hazel (@jonnydapoet.priv) Wonderland is all about whimsy, insanity, things that don't make sense, absurdity and the bizarre - and for the most part in media, that's portrayed in a positive lens, very clean, very demure, very mindful and happy-go-lucky. But simultaneously, insanity and the absurd are scary things, and the notion that you're going insane or that something is wrong with your mind is terrifying at points (believe me, I'd know). Crazy isn't all sunshine and rainbows and tea parties with hares - it's not knowing who you are, loosing your grip on what is the most important in life - life itself. "The Peculiarities of Ophelia Roux" is meant to tackle these themes in a way that isn't as obvious as it may seem - masquerading as a murder mystery, it's actually a story about disassociation, mental health struggles and a fear of insanity - and to me, that's just as valid an interpretation of Wonderland as any other. ART Lustrous Light Show - Adowintry (@Adowintry) My piece is one filled with many little things in it, the chaos supporting the circus theme. There is also a certain darkness and uncertainty in it that makes one notice that it is not all that it seems… Emotions I - shahana saleem khan (@schahnasaleem) My artwork, featuring the ceramic masks displayed in a grid-like fashion, connect to this theme by exploring the idea of identity and transformation—key elements in a ""Wonderland"" narrative. The repetition and variations of the masks symbolize the different personas or faces we encounter (or wear) in a whimsical or surreal environment like Wonderland. Each mask, with its subtle differences, might represent the various identities or emotions that come to life in such an extraordinary world. the strangest things you've ever seen - Lilly Schymick (@lillysch25) The piece includes many traditional carnival inspired themes. The head in the popcorn bucket is very reminiscient of a circus fortune teller in its position. The stars and the eyes show that this is a strange chamber one has wandered into. What is wonderland but just the strangest circus? CREATIVE NONFICTION One Carnival Native to your Heart - Jolene Hii (@jolene.hjx) Somewhat of a personal anecdote that reflects my own fears, wonderland as depicted within my piece exists in a carnival, which also actually only exists within one's mind. It is a lingering memory that persists past youth and pleads to be re-entered. The piece uses a carnival as an extended metaphor for the ache of aging, societal expectations, and loss of childhood. Read Issue IX: Welcome to Wonderland on Gumroad here .

Submit now! Issue X: Modernity Life has never been static, and there has always been something or the other happening at any given point of time. And yet, the world feels heavy right now. 2025 feels consequential and historical in a way that seems unprecedented to our generation, because of the state of the world but also of the collective emotional turmoil that seems to be taking us all by storm. Amidst all of this uncertainty, we bring to you modernity. Drawing upon Baudelaire's definition of modernity as "the ephemeral, the fleeting, the contingent," and Foucault's characterization of modernity as "the will to "heroize" the present," we bring to you a theme that aims to celebrate our decennial issue by chronicling this current year and era through your words. This theme is meant to be as open to interpretation as possible. We provide the words of philosophers to serve as a guiding idea of what modernity could look like, but we give you the freedom to mold the word into whatever you'd like it to be. You could explore your life looks like in the current moment, or juxtapose the present with archaic historical stories to illustrate how modernity has changed over the centuries. You could write about the constants in society as rebellion against ephemerality and proof that humans can create longstanding inventions, or you could romanticize the fleeting as a call to action to take life less seriously and treasure the little things. All that we ask of you is to show us, in your own art, how you define modernity and why. Subs Open June 01, 2025 Subs Close July 06, 2025 Issue X Coming Soon!

Submit to our magazine now! Submissions We are currently accepting submissions for: Blog Article Non fiction - All year round Click here to know more. We are looking for pieces that young readers can relate to, pieces that make you feel something. Stories and poems about the teenage experience, fantasy that readers can use as escapism, worl ds that will suck them in co mpletely, pieces that will strike the very core of human souls are highly encouraged! We also appreciate pieces that are silly, weird, and might be out of place anywhere else. We seek to promote any work that makes us feel any kind of emotion - whether that's amusement, dejection, or nostalgia. Please check our specific themes for what we seek for that theme though! We currently accept submissions for our issues four tim es a year. (March, June, September, December). We are currently closed for issue submissions. Submission Guidelines Submission Inquiries GENERAL All pieces should be in English. If you are including any words in another language, please include translations below Send all pieces as a Google Document/Word Document because this makes it easier to add comments and give feedback. If you are sending a Google Doc, make sure to give us commenting access All pieces should be written in Times New Roman/EB Garamond and font size should be 11 or 12 We have changed our policy of reading name-blind, and will be reviewing submissions with the submitter's context in mind. We highly encourage all creators to add a note to their work so it helps us evaluate the context in which the piece was written and provides more depth to the work. Add the releva nt trigger/content warnings Strictly no smut/anything sexual as this is a magazine for teens Plagiarism, offensive slurs and hate speech are strictly not allowed, If we find any submissions with the same, we will delete it and bar the author from sending to us in the future. ISSUE We allow four kinds of submissions: pr ose, poetry, visual artwork, and creative non-fiction. Per cycle, an author or artist may only submit to one category . Within that category, you can submit how many ever submissions are allowed for that particular category. Specific limits and instructions for each category are listed below. We will design an individual layout for each accepted piece, and reserve the right to design the layout as we believe best fits the piece. For pieces that are accepted, contributors will be emailed about details of publication, issue release parties, and features on our blog. Contributors have the right to accept/decline invitations as they please. Excerpts from accepted pieces will be promoted on our social media. The contributor reserves the right to choose whether they would like to be tagged or not. BLOG No fiction or poetry submissions are allowed for our blog. Any such submissions will be deleted and rejected immediately. Pieces must be engaging and interesting pieces related to the bookish and writing industry. Any unrelated pieces such as makeup or skincare articles will be deleted and rejected immediately. For any research-related article, authors are expected to cite their sources below. Heads of blog department reserve the right to make any edits to the piece as they see fit. We also reserve the right to later archive a blog post if we feel it does not resonate with the theme of our magazine on a later date. We expect blog posts to be written in a fairly formal tone. Conversationality is fine, but a complete disregard of proper spelling and grammar is not. Topics for blog posts are expected to be interesting and unusual, and entice readers. Word count for blog posts is 500-800 words. We may accept longer articles, however this is dependant on the subject of the article itself. Prose: Any forms of prose are accepted with a maximum limit of 1500 words. Format it accordingly with the required line and paragraph breaks and submit as a Word Document or a Google Docs. During a single cycle you can submit a maximum of 1 story of less than 1500 words, or 3 micro stories of less than 500 words each. Attach them in the same document, split it with page breaks and submit it. Poetry: Any forms of poetry are accepted with a maximum limit of 30 lines. We are not strict on line count, however the poem must not exceed 2 pages. Format it accordingly with the required line breaks and submit as a Word Document or a Google Docs. During a single cycle you can submit a maximum of 3 poems. [For issue viii, we are only accepting one poem per author.] Attach them in the same document, split it with page breaks and submit it. Art: We accept both digital and traditional art, however if it is traditional, we expect a good quality picture with no disturbances. We allow a maximum of 3 pieces per submission. [For issue viii, we are only accepting one piece per artist.] We ask that you merge all 3 of them into a single file and submit it. Creative Non-Fiction: Creative non-fiction includes essays on current world issues, book reviews, personal anecdotes, etc. We allow a maximum of 1 piece per submission, with a maximum word count of 1000 words. Photography: A maximum of three pieces can be submitted. The clarity must be high. Should be submitted in JPEG format. Submission Categories Prose Poetry Art Creative Non-fiction Photography Our New Policies If you submitted to a previous issue, you have to wait a whole cycle to submit to RTS again. For example, if you submitted to issue 8, you cannot submit to issue 9 and have to wait until issue 10 to submit to RTS again. This rule will go in place from today, i.e. if you submitted to issue 7 you can still submit to issue 8. This does not apply to features or mini issues, and you can submit to how many ever of those that you please. When we first started our magazine, we didn't have a lot of submitters so we wanted to encourage whoever wanted to to submit. However, now we believe we have a decent enough reach not to worry about reaching an adequate number of submissions, and thus we want to promote more writers instead of the same writers again. Don't get us wrong - we absolutely love recurring contributors! However, we'd like to give new people discovering us more of a chance too :) If you submit a piece that does not adhere to the submission guidelines, your piece will not be read, your submission will be automatically rejected, and you will be issued a warning. In the past we have been a bit more lenient with submissions that didn't meet the requirements, however it becomes extremely hard for our editors to keep track. Please read all the guidelines on our website thoroughly including the number of pieces you are allowed to submit and the instructions on how to title your document. Any piece that doesn't meet the guidelines will be put on a warning list, and if any single person gets three warnings they will be blacklisted from submitting to RTS. This also applies for people submitting our application form to closed positions (if a position is closed, it will be indicated on the application form itself). Note: The only exceptions to this rule we will accept are with respect to word/line counts, and that is only for marginal differences (<100 words). If your piece exceeds the maximum word count, please DM our Instagram or email to make sure it's okay. Only after receiving our confirmation that it's okay to submit can you submit this piece without receiving a warning. Anchor 1 Facts & Questions All Your Questions Answered In One Place Why should I submit? If you wrote a story that you're really proud of, or created an art piece you adore, and want more people to read and see it, we highly encourage you to submit. We understand how difficult it can be to put yourself and your work out there, but we're also young writers who started from humble beginnings, so we hope you trust us and take a chance. At RTS, we review all the pieces and provide individual feedback for all of them (only if requested for). We also take very good care of your piece (check this post for more motivation to submit!). No matter whether we decide to publish your piece or not, rest be assured that we will treat it with the respect it deserves, and make sure you're on the right track of your publishing journey <3 Who can submit? The aim of our magazine is to provide a platform for young and marginalized artists. We hope Rewrite The Stars Review serves as a platform for amateur artists where they can publish for the first time and use this magazine as a stepping stone into the formal literary world. Although we predominantly publish work by young artists in the age group 13-25, we do believe that there is no age for someone to begin writing. We will consider work from older creators, however we may prioritize publishing work by writers submitting for the first time, rather than authors with an extensive publication history. That being said, we encourage artists and writers from any part of the world to submit! What/When can I submit? We have submissions to our magazine which publishes quarterly. Check this page for more details. For our issues, we accept fiction, poetry, creative non-fiction, visual art and photography. We accept submissions to our blog year round! We are looking for articles about the reading and writing community, whether this be your hot take on a popular trope or a rant about literary magazine rejections. Check this page for more details. Apart from these, we also will occasionally be having special events and contests! More details on this are published on our socials, follow us on instagram for updates <3 Where do I submit? Check the Issues page to submit to our magazine, and the Blog page to submit to the blog. Please adhere to the submissions guidelines as this makes it easier for us to review them. Interested? Submit now! Blog submissions are open year-round. Submissions for Issue X: Modernity are closed! Submit to blog Submissions closed

Swiftie Summer Showdown Welcome to the collaborative contest organised by Rewrite The Stars Review, Evanescent, The Elysian Chronicles, Abducted Cow and Petrichor Gazette. The categories are from Taylor Swift's albums (from Taylor Swift to The Tortured Poets Department). Each piece is to be based on any one of these categories (please note that pieces should be inspired by the albums, not directly about them or about the artist, Taylor Swift). Submission Guidelines Font: Times New Roman Font Size: 12 point Line spacing: 1.5 spacing with line breaks for new paragraphs Format: doc or docx Maximum lines (poetry): 50 Maximum words (prose): 3500 Age Restrictions : 13 to 25 year olds Type of submissions allowed : Either prose (fiction, creative non-fiction) or poetry Previously published pieces and simultaneous submissions are not allowed. Albums we'll be reviewing Midnights Lover Reputation Judges and Prizes A special mention piece (either prose or poem) will be chosen from each album. 13 pieces overall will be selected for the final round which the guest judges would read. More details about the Judges and Prizes will be revealed very soon! Submission Dates Submissions open: June 1st, 2024 Submissions close: July 31st, 2024 Maximum submissions: 2 (regardless of the album or prose/poem) Submissions are closed! Submissions Closed