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Call for Submissions: Zoomorphic

The magazine Zoomorphic seeks submissions for its upcoming anthology of oceanic life.

We are currently inviting submissions of poetry, fiction, creative non-fiction, conservation journalism and art for our first printed anthology. The book will be launched on 2nd December at a Zoomorphic event hosted by ONCA as part of their “Do You Speak Seagull” season. The printed anthology will be themed around marine wildlife and will accompany our digital issue. Submissions are invited for both formats. The launch event will include a display of Zoomorphic graphics and art as well as audio poems and sound recordings. 

The deadline for poetry is September 16; the deadline for prose (both fiction and nonfiction) is October 10.

For complete guidelines, click here.

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Zoomorphic magazine now accepting submissions


We first introduced Zoomorphic a year ago with this Q&A.

Zoomorphic is now accepting submissions for their next two issues. Here is the call:

Zoomorphic magazine was founded a year ago and is now an established eco-literature publication. We have featured work by many award-winning and respected international writers in our first 5 issues.

We are now seeking submissions of fiction, journalism and creative non-fiction for our summer and autumn issues. We are happy to receive material from published and unpublished writers, and will give editorial feedback to new writers with strong ideas. Work concerning oceanic wildlife is particularly encouraged.

Essays and fiction should be between 500 and 3000 words.

Submissions guidelines can be found here:

Or contact James Roberts ( to discuss your ideas.


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Introducing Zoomorphic


It’s always exciting to see a new literary journal launch with a focus on environment writing.

So please welcome Zoomorphic, a new online journal founded by James Roberts and Susan Richardson and “dedicated to writing that deepens our connection with wildlife and the more-than-human world.”

I recently conducted a brief Q&A to learn a bit more.

Here we go…

Tell us a bit about Zoomorphic and how it came to be.

Susan and I had both been involved with the Dark Mountain Project, a creative community that shared our own environmental concerns. Susan has been writing about animals for a long time and has worked with many organisations such as WWF and Friends of the Earth. We are both deeply concerned about the level and rapidity of biodiversity loss and wanted to curate a space for a community of practice where writers and artists could create content that both celebrates and defends wild animals.

What types of writing are you looking for?

All types, as various as possible. Creative nonfiction, fiction, poetry, essays. What we’re mostly looking for is writing that is accutely observed, that communicates clearly the author’s passion for the subject. We also want to work with conservationists and scientists and help them produce stories that can be enjoyed by non-scientific readers. What we don’t want to publish is stories that use animals as metaphors for people.

Tell us a bit about your background and writing.

I have been involved in a very wide range of literary and creative projects, starting out writing and producing plays, working on lots of multimedia projects commercially while also publishing poetry and essays in literary journals in the UK. I am a professional digital designer so I’m also responsible for the visual side of Zoomorphic.

What writers inspire you?

I’ll stick to living writers: The poet W.S. Merwin, whose work has been rooted in the earth for decades. He has managed to build a life around his practice that is utterly authentic. For me, he is the finest poet writing. In fiction, Cormac McCarthy, for much the same reasons. I agree with George Monbiot that The Road is the most powerful piece of environmental literature written for years. And I must mention Alice Oswald, who is a magician.

What advice do you have for writers of environmental prose?

My advice is that there has never been a better and a more urgent time for writing about the environment. We need many varied voices from all places and all backgrounds. Most of all, we need writing that is rooted in and that passionately defends the author’s own “square mile.”


PS: Here is our growing list of literary outlets for environmental writers.