Our contest submission period is now closed. Thank you for submitting. Submissions will open for our print issue Oct 1. Details to follow. Meanwhile, check out the winners of our 3QR Contest. The theme: Prose and poetry that pays tribute in some way to the works, style, substance, or interests of Daniel Defoe, who wove his and others’ experiences with fact into the art of fiction, and accomplished literature and essays in the three-quarter true vein. Peruse DeFoe’s books, essays, editorials, or articles. The 3QR Daniel DeFoe Award will advance the 300th anniversary of the publication of Robinson Crusoe in 1719.
For a high-water mark, read the poem we published by American poet Mary Jo Salter, “Crusoe’s Footprint.” Salter is co-editor of The Norton Anthology of Poetry and a leading figure in New Formalism, among many other literary accomplishments.
If you sent a submission during our closed reading period, we were, well, not reading then nor will we go back in time.
Previous call for submissions: Again, we are accepting contest entries—Poetry and Prose—in this theme only. Please put the word “Contest” in the subject line and note briefly how your work relates in some way to Defoe’s in your cover letter. (See other guidelines below). There’s no fee for contest entries, though we’ll be setting up a donation channel in support of our print edition: 3QR True, which will include our five issues, as well as the contest winners and honorable mentions for the Daniel Defoe Award.
As bio.com notes: “English novelist, pamphleteer and journalist Daniel Defoe is best known for his novels, Robinson Crusoe and Moll Flanders.
Some of his most popular works include The True-Born Englishman, which shed light on racial prejudice in England following attacks on [King William III] for being a foreigner,” and other writings. “Political opponents of Defoe’s repeatedly had him imprisoned for his writing in 1713.”
“Defoe took a new literary path in 1719, around the age of 59, when he published Robinson Crusoe, a fiction novel based on several short essays that he had composed over the years. A handful of novels followed soon after—often with rogues and criminals as lead characters—including Moll Flanders, Colonel Jack, Captain Singleton, Journal of the Plague Year and his last major fiction piece, Roxana (1724).”
In the mid-1720s, Defoe returned to writing editorial pieces, focusing on such subjects as morality, politics and the breakdown of social order in England. Some of his later works include “Everybody’s Business is Nobody’s Business.” (1725)
In the meantime, read our current issue featuring poetry and prose about Science … or Music … or Both. String Theory, anyone? Our writers serenade with science, or illuminate the cosmos with music. We are also working on our print anthology set for 2017. Stay tuned for details. Overall we look for engaging prose up to 4,000 words. Up to three poems. Submissions must be at least 75 percent factual. To learn more about our philosophy and aesthetic, peruse our writers’ work and check out the essay “3QR: Free to Pass” in About 3QR.
Short pieces welcome. Prose double-spaced. Submit online to firstname.lastname@example.org. Be sure to attach as a Word or similar doc., and include your email address. If you have not heard from us within four months, assume that we are unable to publish your work at this time. We consider simultaneous submissions; please advise promptly if your piece is accepted elsewhere.
We read and consider all submissions thoughtfully. Know that there is nearly always something in your work that we like or that moves us. Your piece or poem simply might not be a fit for 3QR. We will communicate electronically once a piece is accepted. Most of our stories are edited, in collaboration with the writer, for fine-tuning and polish.
The Three Quarter Review publishes annually and holds first, North American rights of work we publish.
Editor, Joanne Cavanaugh Simpson
3QR: The Three Quarter Review
Quotable Thought: The plot–instead of finding human beings more or less cut to its requirements, as they are in the drama– finds them enormous, shadowy and intractable, and three-quarters hidden like an iceberg.
— E.M. Forster, Aspects of the Novel