Submissions in 2019 and beyond…

Writers, mark your calendars — our next submissions period will run from January 1 to January 31, 2019.

During the month of January, we will be accepting submissions of book-length fiction and nonfiction on the themes of the environment, animal protection, ecology, and wildlife — as always, we’re looking for exceptional, well-written, engaging stories.

In the new year, we are asking that writers who submit book-length manuscripts also support the press (and learn more about us!) by purchasing a book at the time they submit. All books will be $20. For U.S.-based writers, this includes free shipping and your manuscript submission; international writers will receive e-books with their manuscript submissions.

As many of you already know, our submission times and policies have evolved over the years. When we founded Ashland Creek Press in 2011, we had the luxury of keeping submissions open all year as writers began to discover us. In 2014, we started the Siskiyou Prize for New Environmental Literature and began offering two submissions periods for book-length manuscripts — one for prize entries, and one for regular submissions. We also have several open submissions periods for shorter works, which have filled our anthologies Among Animals, Among Animals 2, and Writing for Animals.

As the years have passed, we’ve found ourselves overwhelmed (in a good way!) with increasingly higher numbers of submissions during each reading period, far more than we can ever publish — and sometimes far more than we can manage to read in a timely manner. Now, as we enter our eighth year of publishing, we have decided to shorten our regular book submission period as well as ask writers to purchase a book — and we do this for several reasons.

For one, we hope that a shorter submission period will allow us to read and respond to writers more quickly (as writers ourselves, we understand that the time spent waiting to hear about a submission can feel interminable!). And also as writers, we understand the importance not only of supporting other small presses but of submitting in a knowledgable way, i.e., learning as much about a publisher and its work as possible before making the decision to enter into what will become a very close and longtime relationship as author and publisher.

For us, Ashland Creek Press has always been a labor of love — and we mean this quite literally! No matter how successful the press has been in any given year, we have never paid ourselves a dime. All money received by Ashland Creek Press goes to author royalties; toward judges’ fees or writers’ prize money; into promotion and events to support our authors, whether for newly launched books or backlist titles; and to the Ashland Creek Press Foundation, which supports animal and environmental organizations that share our mission of making the planet a better place for the future.

We very much look forward to reading your new environmental writing in January, and we thank you in advance for your support. We couldn’t do this without you as writers, readers, and advocates for animals and the planet.

You’ll find our more information on our submissions page; please note that Submittable will not be open until January 1, 2019.

Many thanks, and we wish you a very happy new year!

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Penguins & Patagonia Adventure: Exploring Península Valdés

The day after our rainy arrival on Península Valdés, the skies still held remnants of the rain of the day before, which only made the views more spectacular as we explored the 16 kilometers of coastline at Rincón Chico.

Estancia Rincón Chico is a privately owned parcel of about 100 square kilometers (a UNESCO World Heritage Site, all of Península Valdés is privately owned), but unlike the majority of landowners here, Rincón Chico owners Agustín and María have devoted their property entirely to the wildlife. Formerly a sheep ranch, the sheep are now gone (except for a few who remain on the estancia as pets), and the land is beginning to return to its natural state, with the grasses growing taller and the wildlife returning. Rincón Chico is managed through the foundation Conservación Península Valdés (CPV), created to protect this beautiful, wild place.

The Land Rover in the photo below, with the casco and lodge in the far background, offers an idea of how vast and majestic this property is. Agustín estimated it would take the better part of a day to drive all the way around the entire property.

If you visit Rincón Chico, you’ll have the opportunity to see southern right whales, elephant seals, sea lions, orcas, penguins, and numerous species of birds and fish. Agustín and María have cameras set up at watering holes throughout the property to study and track what animals live and roam there. Some of the footage we saw included guanacos, armadillos, wild cats, and myriad birds.

We didn’t have to go far to see rheas, like this one who liked to hang around at the lodge eating the flowers.

More elusive were the Patagonian maras, very large rodents with cute donkey-like faces who run like jackrabbits. They were quite shy, but I did manage to get a quick photo.

I confess this place is so magical I even found the tarantulas adorable.

One of the highlights of our three days at Rincón Chico was spending an entire morning sitting among the elephant seals on one of the beaches. The seals’ lives are full of drama, and to sit in silence and witness their lives for several uninterrupted hours was amazing.

And, the great thing about having some rainy and windy weather is that the clouds make spectacular sunsets.

At night, Rincón Chico goes completely dark (the generator shuts off at midnight, though there are a few solar-powered lights in the lodge). The silence is complete and almost unreal. It’s incredibly peaceful.

I love this photo of John and me with our incredible hosts, Agustín and María. If you ever want to experience Rincón Chico and Península Valdés, remember that visits to the estanciasupport the work of Agustín and María to continue the conservation of the property, the science of learning about its creatures, and rewilding former sheep pastures. I certainly hope we’re able to return again very soon!

Penguins & Patagonia Adventure: Author talks at Rincón Chico

On the afternoon we arrived at the gorgeous Estancia Rincón Chico on Península Valdés, it was pouring rain, windy, and cold.

So, we decided to have our author talks and book signing that afternoon, with the timing just perfect for cocktail hour.

It was beyond wonderful to talk about My Last Continent with readers who were seeing firsthand parts of what inspired the novel: volunteering at Punta Tombo, learning so much from experienced penguin researchers, being out in the middle of nowhere with no human sounds other than the wind and the braying of the penguins. I read a few excerpts from the book — one scene set in Punta Tombo, which we’d visited the day before, and one scene set in Antarctica, where half of our group would be headed in a few more days.

And John‘s novel The Tourist Trail was even more fun to talk about, as it’s just been released in a new edition, with the sequel on its way into the world in February of 2019. Also, in The Tourist Trail, Punta Tombo features even more prominently than in My Last Continent, so readers got an even better idea of the colony from reading his novel. John read an excerpt from the book that actually retraced our own steps from the day before.

We enjoyed a fantastic Argentine Malbec as we chatted about the novels and signed books…

…and we had so much fun we forgot all about the wind and rain.

To see more of Susan’s terrific photos, visit the Facebook page of Adventures by the Book!

Our Penguins & Patagonia Adventure: First stop, Buenos Aires

It was more than a year and a half ago that Susan McBeth and I began planning our Penguins & Patagonia Adventure by the Book, and when we found ourselves in Buenos Aires at last, we could hardly believe the trip was finally happening (and a small part of our group would be headed to bigger adventures yet, in Antarctica). But we had three days in beautiful, balmy Buenos Aires first — and we knew the best way to overcome the jet lag after our early morning arrival would be to stay awake, get out in the sun, and walk around. So we headed to one of the city’s biggest treasures (and one of John‘s biggest obsessions): Reserva Ecológica Costanera Sur.

This gorgeous ecological reserve comprises 865 acres on the banks of the Río de la Plata. It was only a couple of miles’ walk from our hotel, and once inside the reserve, it was hard to imagine we were still in the middle of a bustling international city, except for a few glimpses through the greenery. The birders among us were especially happy with the myriad species of birds found throughout the reserve.

Of course, the ecological reserve is only one of the city’s many treasures; this being an Adventure by the Book, visiting the gorgeous El Ateneo bookstorewas another priority.

Located inside a former theater, this bookstore is a joy to wander through, even if it has only one small English-language section. We posed for a group photo with My Last Continent overlooking the former stage, which is now a cafe. (Not pictured: The Tourist Trail.)

And no literary tour is complete without an homage to the typewriter — John led us to this typewriter repair shop, which had a lot of vintage machines for sale. It was a good thing that we had weight limits on our baggage and couldn’t make any purchases, no matter how tempting.

We officially kicked off the Penguins & Patagonia tour with a welcome dinner in the lovely Puerto Madero district, with a gorgeous river view as our backdrop. (Just out of view is Santiago Calatrava’s breathtaking bridge, El Puente de La Mujer, or “Woman’s Bridge.”)

Thanks so much to Susan for the great people photos! And, for many more photos and captions from this journey, visit Adventures by the Book on Facebook.

Q&A with WRITING FOR ANIMALS contributor Alex Lockwood

Alex Lockwood’s article “With a Hope to Change Things: An Exploration of the Craft of Writing about Animals with the Founders of Zoomorphic Magazine” appears in Writing for Animals.

Q: In what ways has your writing changed as your knowledge and awareness of animals has evolved?

A: Most fundamentally, I have chosen (as far as a writer can) to only take on new projects that foreground the nonhuman and their relations with humans, as much as possible to work towards texts, narratives, and stories that help bring our relationships to light, and to contribute towards a more equal and just sharing of this world across species. Although sometimes as writers we don’t know quite what compels us to write the next story or book or poem, there are conscious decisions we can make responding to the state of the world, and the disastrous state of our hierarchical and dominant current relations with nonhumans. As I come to know more about animals and the nonhuman world, the more I recognize my spiritual and practical responsibilities to attempt to redress through my practice the worst forms of these exploitative relations and hopefully envision new and more equal, kind, and loving relationships.

In particular, I have spent a lot more time working in the second person, and writing works that give serious credence to the voices and agencies of nonhuman others, to the existing and complicated relations between beings across species (in cross-species encounter) and the truly relational nature of who we are, in that without these relations we do not know ourselves and, when you get down to the biota level, we wouldn’t even be alive.

Q: What is the most important thing you feel writers should keep in mind as they write about animals?

A: Compassion. Do not repeat or reinforce dominant speciesist practices in your writing. Question why it is okay to depict or represent particular animals in particular ways. Enrich your writing through learning in the three Es — ethology, ecofeminism, ecocriticism — to continue to forge new visions for ways of interrelating based on kinship and not dominance. Change your own name to that of an animal’s and see where that takes you. Don’t get bogged down by questions of whether or not animals can be fully represented in human language, because your audience is human, generally. But do nurture an understanding of nonrepresentational theories, politics, and practices that shift you and your ego out of the way. If you’re a white, Western male, as I am, do everything that you can to mobilize your white, Western, male privileges and give your writing over to the practice of centering the lives and leadership and needs of all previously marginalised groups, human and nonhuman.

Q: Which authors/books do you feel do a good job of realistically and compassionately portraying the lives of animals?

A: Donna Haraway’s Camille stories are must-reads for how we are now thinking about our multi-species encounters. Cynan Jones has done plenty of good work around animals and viscerality. The animal poet Susan Richardson, whom I interviewed for my chapter, is an incredible writer, perhaps one of the leading animal poets of our day, following in and beyond the footsteps of Les Murray. Sara Baume, Melissa Harrison, Robin Lamont, pattrice jones, Barbara King, Carol J. Adams, Ceridwen Dovey, Lydia Millet are all women working in different genres and forms to respectfully and compassionately help us reach the lives of animals.

Q: Your Q&A with the editors of Zoomorphic magazine highlights the role of literature in a changing world. What other media do you recommend for those who care about animals and wish to write about them with authenticity and compassion?

A: Literature remains for me the art form that can transform our relationship with the world most fully, but of course many would suggest film is the same or better at doing so, and films such as Okja have had a recent huge impact on the ways in which people have changed their relations to animals. Short films and exposes such as Dominion and Land of Hope and Glory have recently, from the documentary perspective, really changed people’s visions of how to relate in cross-species encounters and spaces. I think children’s books are vitally important in beginning that journey of love and compassion, or exploitation and abuse, depending on the forms in which they are written and the ways in which parents and teachers communicate them, and of course how writers write them, so I cannot recommend people such as Ruby Roth enough.

Alex Lockwood is the author of The Pig in Thin Air (Lantern Books), an exploration of the place of the body in animal advocacy, as well as senior lecturer in journalism at the Centre for Research in Media and Cultural Studies, Sunderland University, UK. He has published widely on human-animal relations and is currently working on a series of novels concerned with human-animal conflict.