Art Guidelines

Please read the guidelines carefully before submitting your artwork:
  • We accept submissions from Canadians and non-Canadians.
  • We accept both existing art and proposals. Note that if you're sending in a sketch for a proposal, we still require an example of your colour work.
  • We only accept JPG files through Submittable.
  • Please include ONLY pre-existing works in colour as we print the cover in colour.
  • Include your website--we can take a look of other examples of your work.
  • We pay $400 for cover art (both pre-existing and original), plus $50 for interior art.
  • The artist owns their artwork--we only license the artwork as part of the front cover and interior of an issue.
These are important requirements we keep in mind when we look at examples of your work:
  • Our cover dimensions are 5.25 width by 8 height in inches (note that images can be scaled down to a similar ratio).
  • We incorporate the following: the On Spec logo, price and other information in an upper corner and the contributor's names.

If we feel your work fits as a cover, we will contact you to discuss using an existing artwork OR commissioning an original for the magazine. If the work appears to be unsuitable, we will likely let you know. Otherwise, we'll keep your information on file for future reference. 

On Spec Manuscript Style Sheet

Please read this sheet carefully before you submit your manuscript. These points address matters that at worst prevent us from reading your work, and at best create a bad impression of what you have written.


  • We accept submissions from Canadians and non-Canadians.
  • We pay between $50 to $200 depending on word count.
  • We accept stories up to 6,000 words. Note the required check box near the bottom of the page.
  • It goes without saying that we are looking for works of the Fantastic. You may also know it as "Speculative" fiction, where the element of the un-real is part of the character of the story, and not just an add-on. 

Files Submitted for Publication

  • Double-space (or 1.5 space) your work, please; but please pay attention to your paragraphing. Either indent with the tab key, or leave space between blocked paragraphs.
  • Times Roman or Courier fonts only.
  • Put just one space after terminal punctuation, such as periods. 
  • Do not use the "return" key at the end of each line. Carriage returns (since the days of typewriters) are just for paragraphing. 
  • Show italics as italics: First time!
  • Please show ellipses with three periods, rather than the font’s ellipsis from the Special Symbols palette, or one generated with a keyboard shortcut. Do not space between the periods.
  • If your word processor has trouble with “curly” quotation marks, which Word calls “Smart Quotes”, use the straight ones and let us sort it out. If your quotation marks are coming out backwards, change to the straight marks in your document preferences. You might have to enlarge your document to about 150% or more to check. Remember, you want them to look like “66 99” around speech.
  • If you need a dash, double hyphens are fine, but please don’t put a space before and after. Best is an em-dash (not an en-dash, please) which is a keyboard shortcut worth learning. You should look up what is correct for your platform, and for your word-processing software.


  • Put your contact information at the very beginning of the file (see the introduction to this sheet). Include your real name.
  • Bio information exactly as you want it to appear should be on a separate page at the end. In your cover letter to On Spec, please be clear about any pseudonym or pen name you would wish for authorship credit in print. 
  • Please number your pages.

Nota Bene: MS Word’s Track Changes is how we do our markup, if we accept and copyedit your story. It would be a good idea to learn how it works. If your story is accepted, our copyeditors will be glad to assist you; but a basic knowledge of the feature always helps.


  • We accept submissions from Canadians and non-Canadians.
  • We pay $50 for poetry.

What On Spec looks for in poetry submissions By Barry Hammond, Poetry Editor

I'm now the sole poetry editor for ON SPEC. This is not a great change in the way we do business. As the most published poet among the editors, I had a fair amount of influence in past issues as well. It just means that as far as poetry goes, you don't have to please four or five people anymore, just me. It occurred to me that, while we have guidelines for fiction and artwork, we seldom state in the magazine or on the website, what we look for in poetry. So, this is what I want:

  • Strong voices that don't sound like anyone else. Original ideas would be great, too, though they're much harder to come by. Beautiful, startling images and language. Current and future science would be nice.
  • Basically, I'm interested in contemporary poetry. That means blank, free verse, or discursive prose poems.

What I'm NOT interested in:

  • Rhyming poetry. If you send Pindaric, Horatian or Cowleyan odes, pantoums, sestinas, sonnets, villanelles, haiku, ghazal, or any kind of rhyming couplets -- iambics, anapestics, dactylics, be they pentameter, tetrameter or any other kind of rhyme scheme, I'm probably not going to like them. I'll still read them. They just won't get published. The only exceptions I can think of is if the poetry you've written is better than something written by Wordsworth, Shelley, Keats, Alfred Noyes, Li Po, Mallarmé, Baudelaire, or any of the other poets who perfected and (to my mind) pretty well exhausted those earlier forms. Of course, I know you think you're a genius but, TRUST ME ON THIS ONE, if you haven't published extensively in magazines devoted to these traditional forms YOU'RE PROBABLY NOT.
  • I despise pedestrian rhymes most of all. This means obvious ones like moon/June, sigh/sky, blood/flood, dark/mark, etc. If you can't be more subtle than this, I REALLY don't want to see your stuff.
  • Antique language. One of the things that never ceases to amaze me, when the poetry batches come in, is how many people seem to think writing poetry, especially horror and fantasy poetry, means you have to use antique language. No. No. No. If your work contains words like "thee, thou, hast, methinks, begot, forsooth," or anything of that kind, don't send it to me. You don't talk like that (I hope) so why are you writing like that? It's a mannerism and poetry isn't about mannerisms, or shouldn't be. The only exception is if your work is set in a specific historical period - - not just "the olden days." The "olden days" isn't a specific historical period. It's a feeble generalization used by lazy writers who don't want to research the period they're writing about. And if you do set your work in the past, then I don't want to see modern words like "guys, really, cool, gross," or scientific terms that hadn't been invented yet creeping in, because that's just as bad.
  • Religious poetry. If you have strong religious feelings, that's great, but ON SPEC is a Speculative magazine. Send your religious poems to magazines that specialize in that subject.
  • Poetry that only describes your emotional state. I've nothing against emotions but, as in the previous point, ON SPEC is a Speculative magazine. We want more than that. We want speculation and ideas. If your poem is only about your emotions save it for another magazine, for your analyst, psychologist, social worker, friends, or family members. They might care. I don't. Well, maybe I do, but not when I'm reading ON SPEC batches. As for ideas, if you're just pondering the mysteries of the universe without coming to an original (different) conclusion about it than anybody else, why would I want to know about that either?

Well, as you can tell, my list of what I want to see is much shorter than my list of what I don't want to see. If you want examples of the kind of poetry I do admire here are a few names: Al Purdy, Lorna Crozier, Christopher Dewdney, Gary Geddes, Alice Major, Stan Rogal, Lillian Necakov, John Yau, Bob Perelman, Clayton Eshleman, Lyn Lifshin, Anne Waldman, Arthur Rimbaud, Charles Bukowski, Jim Carroll, Diane Ackerman, and John Giorno. Have you at least heard of some of these people? Do you admire their work, or at least relate slightly to it? If you haven't and don't, then don't bother sending me your stuff. I'm probably not going to like it.

A good guideline is to look at the anthology called Poly: New Speculative Writing edited by Lee Ballentine, or (even though it's not poetry) the kind of writing in Storming The Reality Studio edited by Larry McCaffery. And don't try to copy them, or anybody else, because I read extensively and I'll know. I want original stuff, remember.

Naturally you're thinking, well, that's just his personal taste. You bet. All editors have their own personal opinions of what they want to see. I'm no different. If you don't like it, send your poetry to another magazine. Better yet, start your own magazine. You'll soon see you're no different.

Having said all this and making myself sound like a cranky old fart, please send in your poetry. I want to read it. Really. --BH