Coffin Bell is a new quarterly online journal of dark literature. Submissions now open–seeking poetry, flash fiction, short stories, creative nonfiction, essay, and short criticism that explore dark themes. Send us your darkness!

We are currently reading for issue 3.1 (unthemed; general submissions; going live 1/1/2020),  issue 3.2 "Philia / Phobia" (going live 4/1/2020), and issue 3.3 (unthemed; general submissions; going live 7/1/2020).

Until we reach our Submittable-alotted monthly free submissions limit, there is no fee to submit but our free submissions fill up extremely fast. Thereafter you may submit via the Tip Jar, but free submissions will resume on the first of the following month. Tip Jar submissions are a vital source of the income that allows us to run day-to-day, and are hugely appreciated. If only Tip Jar submissions are available, you may check back at the first of the next month to submit for free.

All submissions in this category will receive feedback from three editors on each piece, whether accepted or declined.

Submit 1-5 flashes in a single file. Please specify if you are submitting for a specific issue. All submissions in the feedback category will be considered for publication.

All submissions in this category will receive feedback from three editors on each piece, whether accepted or declined.
Please specify if you are submitting for a specific issue. All submissions in the feedback category will be considered for publication.

All submissions in this category will receive feedback from three editors on each piece, whether accepted or declined.
Submit 1-5 poems in a single file. Please specify if you are submitting for a specific issue. All submissions in the feedback category will be considered for publication.

All submissions in this category will receive feedback from three editors on each piece, whether accepted or declined.
Please specify if you are submitting for a specific issue. All submissions in the feedback category will be considered for publication.

Submit 1-5 flashes in a single file

Submit 1-5 flashes in a single file


Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Submit 1-5 flashes in a single file


Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Use this form to submit work that is not for a themed issue.

Please attach 1-5 flashes in a single file. Soft word count is <7500 words.

Please attach up to five poems in a single file.

Please attach up to five poems in a single file.


Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Please attach up to five poems in a single file.


Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Attach 1-5 poems in a single file.

Please attach one short story up to 7500 words.

Please attach one short story up to 7500 words.


Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Please attach one short story up to 7500 words.


Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Soft word count is <7500 words.

Attach one CNF up to 7500 words.

Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Attach one CNF up to 7500 words.

Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Soft word count <7500.

Attach one essay or short criticism.

Submissions for issue 4.2 ("Labyrinths," 4.1.2021) are now open! In the mythical story, King Minos of Crete commissioned Daedalus to create a structure to contain the Minotaur, to hide its existence from the world.  Crete demanded "tributes" from other nations to feed the Minotaur. Theseus, one of the Princes of Athens, was one of these tributes. However, Ariadne fell in love with him and assisted him in navigating the labyrinth with her Golden Thread, enabling him to kill the Minotaur. The Labyrinth today is frequently used to evoke the Jungian concept of the "collective unconscious," with the Minotaur at the center being symbolic of the shadow self. Theseus must cling to the thread in order to stave off the deadliest effect of the labyrinth: disorientation. Marie von Franz writes of the connection between the labyrinth and the subconscious: "The maze of strange passages, chambers, and unlocked exits in the cellar recalls the old Egyptian representation of the underworld, which is a well-known symbol of the unconscious with its abilities. It also shows how one is 'open' to other influences in one's unconscious shadow side and how uncanny and alien elements can break in." Here the Minotaur represents our repressed, dark, or perhaps evil aspect. For our "Labyrinths" issue, we are seeking work that interrogates the Shadow Self, that blurs the line between good and evil, work that confronts what really makes a monster.

Please use this form for all art submissions.

You may submit up to 10 works on this form. If you have more to offer, please state that in your cover letter and if we accept your submission we will solicit the additional files at that time.


Please use this form for all art submissions.


You may submit up to 10 works on this form. If you have more to offer, please state that in your cover letter and if we accept your submission we will solicit the additional files at that time.



Please use this form for all art submissions.


You may submit up to 10 works on this form. If you have more to offer, please state that in your cover letter and if we accept your submission we will solicit the additional files at that time.



Please use this form for all art submissions.
You may submit up to 10 works on this form. If you have more to offer, please state that in your cover letter and if we accept your submission we will solicit the additional files at that time.

Coffin Bell Journal