Short Fiction in Theory & Practice (Journal)

ISSN 20430701 , ONLINE ISSN 2043071X

Short Fiction in Theory & 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 ‘postevent’ dissection of literary texts.

This title is indexed with Scopus.

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Category: Cultural Studies

Principal Editor

Ailsa Cox
Edge Hill University

Aims & Scope

Short Fiction in Theory & Practice is an interdisciplinary journal celebrating the current resurgence in short-story writing and research. Looking at short fiction from a practice-based perspective, it explores the poetics of short-story writing, adaptation, translation and the place of the short story in global culture.

All submissions are peer-reviewed. 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.


To submit an article, please follow the 'Submit' button on the left of this page.
All articles submitted should be original work and must not be under consideration by other publications.
Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.
Download the Notes for Contributors below for information on format and style of submissions. If you need this document in a more accessible format, please contact Find more information on Intellect's Accessibility page.

Peer Review Policy

All articles undergo initial editorial screening either by the journal's Editorial Team and/or incumbent Guest Editors. Articles then undergo a rigorous anonymous peer review by two referees, following the guidance in Intellect's 'Peer review instructions'. Based on this feedback, the Editors will communicate a decision and revision suggestions to authors. To appeal an editorial decision, please contact the main Editor who will consider your case.

Ethical Guidelines

The journal follows the principles set out by the Committee on Publication Ethics (COPE). Read our Ethical Guidelines for more on the journal's standards.

Notes for Contributors Download

Principal Editor

Ailsa Cox
Edge Hill University

Principal Editor

Ailsa Cox
Edge Hill University

Principal Editor

Ailsa Cox
Edge Hill University

Call for Papers Download

Call for Papers: The Short Story and Ecology Download

Deadline for submissions: 30 June 2023

Call for Papers: Landscape and Temporality (ENSFR Annual Conference) Download

Deadline for submissions: 5 June 2023

General Call for Papers 

Contributions are invited for Short Fiction in Theory and Practice, a new, peer-reviewed journal looking at the short story from a practice-based perspective. Once overlooked by literary critics, and sometimes dismissed as a practice run

for the novel, the short story is finally receiving due attention as a major art form, and one which is especially suited to the digital age. Short Fiction responds to this resurgence, providing an international forum for the growing number of writers who integrate critical research with their own creative practice.

While there are a number of literary magazines publishing short fiction, there

are fewer opportunities to discuss its writing and transmission. We are seeking articles which explore the poetics of short-story writing (its reading, adaptation and translation) and the place of the short story in global culture. While celebrating the uniqueness of short-story writing, we will also explore its diversity. We intend to cross generic and disciplinary boundaries, welcoming contributions which explore the connections between short fiction and other means of expression.


Article submissions

Articles should be between 4000 and 8000 words in length. Topics may include (but are not limited to):


  • Short-story composition, writerly practice and the poetics of short-story writing
  • Transmission and publishing contexts (e.g. the anthology; online publication; the short story and radio; short-story prizes; the role of the editor)
  • Writing flash fiction, the novella, sequences, cycles and hybrid forms
  • Sub-genres, e.g. the science-fiction short story, the supernatural, crime fiction
  • Multimedia and hypertext; short stories online
  • Autobiographical and non-fiction short stories
  • Oral storytelling
  • Short-story writing and identity, e.g. race, class, gender, nationality
  • Readings of, and responses to, texts by contemporary short story authors
  • Translation and adaptation
  • The short story and other media (e.g. photography, music)
  • Political, cultural, social contexts (e.g. the short story as samizdat, postcolonialism and short-story writing)


The editors will also consider 

  • Original creative work if it embodies or incorporates a substantial element of the writer’s poetics
  • Interviews with writers
  • Translations of short fiction not previously published in English


Please contact the editor in the first instance, with proposals for translations, interviews or creative work.

All articles submitted should be original work and must not be under consideration by other publications.

Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.


ENSFR Conference Call for Papers 

ENSFR Annual Conference — Manchester October 23-25, 2023:
Short Fiction: Landscape and Temporality.

In The Country and The City (1973) the Welsh cultural theorist Raymond Williams wrote that the landscapes of the country are associated ‘with the idea of a natural way of life: of peace, innocence, and simple virtue’, whereas, city is associated with ‘the idea of an achieved centre: of learning, communication, light' (1973: 1). Williams goes on to claim that ‘powerful hostile associations’ have developed between the city and country, with the ‘city as a place of noise, worldliness and ambition’ and ‘the country as a place of backwardness, ignorance, limitation’ and that the ‘contrast between country and city’ is a ‘fundamental’ approach to literary representations to these different landscapes (1973: 1). This conference will aim to consider the work that short story writers have done in supporting, disputing and subverting these claims in their depictions of landscapes. It will aim to consider a plethora of landscapes including, but not limited to, rural, urban, barren, populated, cosmopolitan, pastoral, flourishing, dying, futuristic, ancient, native, foreign, hostile, welcoming.

The other strand of short fiction writing that this conference will consider is depictions of temporality. Michael Trussler, in his paper in Contemporary Literature, writes that ‘short stories seem particularly concerned with investigating the nature of temporality. An elemental human experience is the chronological progression of time; we respond to this rudimentary condition by essentially narrativizing this process through linking events into a continuous series. Short stories intimate, however, that translating events into a continuum potentially reduces the ‘meaning’ of an event to its relative significance within an ongoing series. Opposed to synoptic assimilation (the method most historians and novelists favour), short stories maintain that the narratives we tell ourselves often mask the incongruities of existential temporality’ (2002: 599-600). This conference will aim to consider the relationship that the short story form has in its depictions of temporality and ask does the short story form do things uniquely, that other literary forms don’t do, in its depiction of temporality.

This conference will also engage with Mikhail M. Bakhtin’s concept of the chronotope. In The Dialogic Imagination: Four Essays, Bakhtin defines a chronotope as ‘time space’, which allows literary critics to analyse how the ‘intrinsic connectedness of temporal and spatial relationships’ is ‘artistically represented in literature’ (1981: 84). Bakhtin goes on to state that in a chronotope, ‘Time [...] thickens [... and] becomes artistically visible’, and space becomes ‘charged and responsive to the movements of time, plot and history’ (1981: 250). We aim to bring together scholars with an interest in examining these tensions and the different ways in which short story depicts landscapes and temporality. The conference’s goal is not to look at the short form in antagonism to other literary forms, but rather, we invite papers that cross-examine the marginal spaces that short fiction occupies and the intersections between landscape and temporality, that the short story form can shine a light upon.

Considering the diversity that characterises the many genres of short fiction, the topics we hope to explore in the ENSFR Conference of 2023 through the theme of ‘Short Fiction: Landscape and Temporality’ include, but are not limited to, the following:

  • Micro and flash fiction and exploration of temporality.
  • Short fiction connected with dying, ruined or apocalyptic landscapes.
  • Short fiction associated with flourishing, populated and harmonious landscapes.
  • The multiple narratives of the short story cycle and how it allows
    for the exploration of multiple chronologies in one collection.
  • The peculiar temporal structure of periodicals (periodicity, repetition-with-variation, novelty and the now) as a medium or publication format that has for many centuries been closely bound up with the fate of the short story.
  • The highly charged temporal frames and landscapes of the ghost story.
  • Different approaches to temporality in the short form.
  • Short fiction’s depiction of landscape absent of humans, as either redemptive or pessimistic of humans?
  • The short story and alien landscapes.
  • The intersection between the short story and the novella and its exploration of longer temporalities.
  • Depictions of landscapes that dispute or break down the dichotomies of urban/rural; cosmopolitan/backward; worldliness/ limitation.
  • Depictions of rural landscapes and their associations with the pastoral.
  • Depictions of urban landscapes and their associations with thecosmopolitan.
  • The short story collection/cycle and its representation of different temporalities and/or different landscapes in one collection.
  • Short collections/cycles/anthologies focused in one geographical location/landscape.
  • The ‘affordances’ of brevity in short story form and the extent to which this is reflected in theories of the genre.

Proposals of approximately 300 words for presentations in English, Spanish or French — alongside a short biographical note (100 words) — should be sent to by 5 June 2023.

We welcome interdisciplinary and creative/critical presentations by short fiction writers. We also encourage short fiction contributions for reading events. Proposals from students and early-career researchers are especially encouraged. A selection of articles based on papers from the conference will be published in Short Fiction in Theory and Practice and in Journal of the Short Story in English.

The 2023 ENSFR Conference will take place in-person at the University of Manchester in the Ellen Wilkinson building on the 23—25 of October.

Organizers: Ailsa Cox (Edge Hill University), Elke D’hoker (KU Leuven), Michelle Ryan (Université d’Angers), Paul Knowles (University of Manchester) and Thomas Grocott (University of Manchester).


Special Issue Call for Papers  

The Short Story and Ecology


If you knew you were at the last days of the human story,

what would you write? How would you write?

—Ben Okri


In The Ecological Thought (2010), Timothy Morton argues that art is central in this moment of climate emergency. Because art is ‘a place in our culture that deals with intensity, shame, abjection and loss’ (10), it can help us face and represent the realities of the current environmental crisis, if not imagine ways out of it and worlds beyond our present one. Moreover, Morton reminds us that ‘all art – not just explicitly ecological art – hardwires the environment into its form’ (11). The choice to write a novel over a lyric poem, for example, determines the way in which a literary text engages with and represents the world within which it is produced. With all this in mind, we want to ask: what relationships exist between the short story and the environment?

Short stories concerned with ecology are clearly on the rise. Recent important collections such as Lesley Nneka Arimah’s What It Means When a Man Falls From the Sky (2017) or Diane Cook’s Man v. Nature (2014), and anthologies like John Joseph Adams’ Loosed Upon the World: The Saga Anthology of Climate Fiction (2015) all attest to the way in which short story writers are using their art to address the issues presently affecting the planet. But in what precise ways are they doing so? What have short stories today and, in the past, had to say about climate, nature, and our interaction with them? And is the short story in any way an especially suited form to address these issues? Typically seen as an urban form, the short story has long been associated with the city and its fast-paced rhythms, with the development of modern technologies like photography and cinema. Yet, the connection between short fiction and the natural world, from fairy tales to the stories of Sarah Orne Jewett or Ursula K. Le Guin, remains to be mapped and thoroughly explored.

The short story is also concerned with the environment in other ways. To begin with, short stories create their own environment to the extent that, as a distinct literary form, they engage in particular ways or world-making. Further, short stories rarely arrive to readers as standalone texts, but characteristically depend on their association with or integration in specific textual environments for their success. The collection, the cycle, the anthology, the magazine or the website all constitute ecosystems where the short story has lived and continues to live. The study of these aspects of short fiction would amount to the formulation of an ecology of the short story.

We welcome creative work and scholarly articles between 4000 and 8000 words addressing any aspect of the rich intersection between the short story and the environment. Topics may include, but are not limited to:

  • Climate (short) fiction
  • Nature in/and the short story
  • Short fiction and environmental activism
  • Ecocritical approaches to short fiction
  • The short story and climate migration(s)
  • Environment as form in short stories
  • Context as environment in short stories
  • Utopian/dystopian short fiction
  • Writing, reading and teaching the short story in a context of climate emergency
  • The ecology of fairy tales and oral storytelling
  • Indigenous stories


Deadline for submissions: 30 June 2023

Please visit the Short Fiction in Theory and Practice website for submission guidelines at:

For informal enquiries please contact Associate Editors Aleix Tura Vecino ( or Andrea Ashworth (


Principal Editor

Ailsa Cox
Edge Hill University

Editorial Board

Dean Baldwin
Penn State University, Behrend College, USA

Julie Bates
Trinity College Dublin, Ireland

Erin Bell
Baker College, US

Alex Benson
Bard College, US

Ina Bergmann
University of Würzburg, Germany

Corinne Bigot
Paris Sorbonne Nouvelle, France

Naomi Booth
Durham University, UK

Isabelle Brasme
University of Nimes, France

Kym Brindle
Edge Hill University, UK

Stephen Burn
University of Glasgow, UK

Ashley Chantler
University of Chester, UK

Philip Coleman
Trinity College Dublin, Ireland

Billy Cowan
Edge Hill University, UK

Alexander Creighton
Harvard University, US

Gill Davies
Edge Hill University, UK

Aaron Deveson
National Taiwan Normal University, Taiwan

Elke D’hoker
KU Leuven, Belgium

Dan Disney
Sogang University, Korea

Sarah Dobbs
University of Sunderland, UK

Lucy Durneen
Institute of Continuing Education, Cambridge University, UK

Karen D’Souza
Edge Hill University, UK

Leena Eilitta
Helsinki University, Finland

Lucy Evans
University of Leicester, UK

Carol Fenlon

Nicholas Foxton
Kingston University, UK

Gaïd Girard
Université de Bretagne Occidentale

Andy Hedgecock
Independent Scholar

Charles Holdefer
University of Poitiers, France

Ursula Hurley
University of Salford, UK

Bettina Jansen
Independent Scholar

Tom Jenks
Edge Hill University, UK

Helena Kadmos
The University Of Notre Dame Australia

Barbara Korte
University of Freiburg

Zoe Lambert
Lancaster University, UK

Laura Lojo-Rodriguez
University of Santiago de Compostela, Spain

Alison MacLeod
University of Chichester, UK

Adnan Mahmutovic
Stockholm University, Sweden

Paul March-Russell
Independent Scholar

Moy McCrory
University of Derby, UK

Andy McInnes
Edge Hill University, UK

Bénédicte Meillon
University of Perpignan, France

Laurent Mellet
Université Toulouse Jean Jaurès, France

Sylvia Mieszkowski
University of Vienna

Judith Misrahi-Barak
Université Paul-Valéry Montpellier 3, France

Jennifer Murray
University of Franche-Comté, France

Ira Nadel
University of British Columbia

Derek Neale
The Open University, UK

Bran Nicol
University of Surrey, UK

Gerald Preher
Catholic University of Lille, France

Eleanora Rao
Università degli Studi di Salerno, Italy

Mohamad Rashidi Mohd Pakri
USM, Malaysia

Joanne Reardon
The Open University, UK

Christine Reynier
Université Paul Valéry Montpellier 3

Sue Roe
Independent Scholar

C.D. Rose
Independent Scholar

Suzanne Scafe
London South Bank University, UK

Barbara Schaff
University of Göttingen, Germany

Oliver Scheiding
University of Mainz, Germany

Philip Schweighhauser
University of Basle, Switzerland

Robert Sheppard
Edge Hill University, UK

Felicity Skelton
Independent Scholar

Dave Swann
University of Chichester, UK

Tom Ue
Dalhousie University

Minna Vuohelainen
City University London, UK

Sarah Whitehead
Kingston University, UK

Joanna Wilson-Scott
University of Aberdeen, UK

Theresa Wray
Independent Scholar

Emma Young
Manchester Metropolitan University, UK

Principal Editor

Ailsa Cox
Edge Hill University

China National Knowledge Infrastructure (CNKI)
EBSCO: Poetry & Short Story Reference Center
European Reference Index for the Humanities (ERIH)
International Bibliography of Book Reviews in Scholarly Literature in the Humanities and Social Sciences (IBR)
International Bibliography of Periodical Literature in the Humanities and Social Sciences (IBZ)
Modern Language Association International Bibliography (MLA)
Ulrich's Periodicals Directory


  • Volume (12): Issue (1)
  • Cover date: 2022


  • Volume (12): Issue (2)
  • Cover date: 2022


  • Volume (11): Issue (1-2)
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  • Volume (10): Issue (1)
  • Cover date: 2020


  • Volume (10): Issue (2)
  • Cover date: 2020


  • Volume (9): Issue (1)
  • Cover date: 2019


  • Volume (9): Issue (2)
  • Cover date: 2019


  • Volume (8): Issue (1&2)
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  • Volume (7): Issue (1)
  • Cover date: 2017


  • Volume (7): Issue (2)
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  • Volume (6): Issue (1)
  • Cover date: 2016


  • Volume (6): Issue (2)
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  • Volume (5): Issue (1)
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  • Volume (4): Issue (1)
  • Cover date: 2014


  • Volume (4): Issue (2)
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  • Volume (3): Issue (1)
  • Cover date: 2013


  • Volume (3): Issue (2)
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  • Volume (2): Issue (1)
  • Cover date: 2012


  • Volume (1): Issue (1)
  • Cover date: 2011


  • Volume (1): Issue (2)
  • Cover date: 2011

Principal Editor

Ailsa Cox
Edge Hill University

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