Call for Submissions

Stacking Stones – short tanka sequences

Reading window: March 1 – April 30, 2018

Submission address: Keibooks at gmail dot com — include subject line “Stacking Stones sub : [your name]”

Keibooks will publish an anthology of short tanka sequences ranging in length from 2-13 tanka, or equivalent, edited by M. Kei. Wilsonian sequences that mix tanka with other forms, including tanka prose, are acceptable, as long as at least 50% of the content is tanka. Collaborative works by multiple authors are acceptable.

Tanka have been composed in sequences since the earliest day. Certain sequences, such as the 100 poem sequence, or the 1000 poem sequence, are well known. In English, numerous variations of short tanka sequences are published in most journals. Of these, the tanka pentaptych, made up of five tanka in sequence, are probably the best known, but tanka pairs, triptychs, and other lengths are published as well. Occasionally, sequences in the form of circles, crosses, or other shapes are published, but these are rare. All kinds of tanka sequences, including tan renga, are welcome.

POETS: Poets are invited to submit up to 40 new or socially published poems. ‘Socially published’ works include poems that have appeared on Twitter or other social media, a personal blog site, or similar location. Poems which have appeared in edited websites, journals, anthologies, or other curated media are ineligible. Poems that have been socially published must be accompanied by a note explaining their previous appearance.

Note: ‘40’ refers to the number of tanka or equivalent. In other words, a submission can be made up of multiple short sequences, with the maximum total verses being 40. A paragraph of prose counts as a ‘verse’ for purposes of counting.

Submitting to the anthology certifies that the submitter is the holder of the copyright or the authorized representative of the copyright holder. In the case of multiple authors, the submitters must include a statement that they are the authorized representative of the collaborators. That representative will be responsible for communicating with their writing partners about all relevant matters.

BIOGRAPHY: Include a short biography written in the third person as well as the country of the sequence, or your home country, whichever is relevant. Submissions that lack biographies may be rejected.

FORM: We are seeking tanka, waka, kyoka, gogyoshi/gogyohka, and related forms. Generally speaking, each tanka in a sequence must be able to stand on its own, and is our preferred form, but we will consider sequences that use tanka as a stanza within a longer poem.

STYLE: We are open to all creative styles that make effective use of the tanka form and present material that engages the human heart. We especially value contributions from poets that show freshness and creativity, but we welcome poets that have mastered classical forms as well. Strong language and topics are acceptable, but works that are hateful, pornographic, or just plain vile will not be published.

TRANSLATION: All poems must be submitted in English, but we will consider poems written in other languages if

an English translation is provided. Correspondence for the anthology will be in English. All translators must be identified and the poet certifies that they have the translator’s permission to publish if selected. Translators will receive a byline.

 PAYMENT: We regret that the only payment for inclusion in this anthology is publication.
RIGHTS: We require one-time world rights, including print, ebook, audiobook, or other any other means by which the anthology as a whole can be published, and the right to publish any poem as part of the publicity material or promotion for the anthology. All other rights remain with the author. No simultaneous submissions. We require exclusive rights from the time submitted until 90 days after publication, after which you are free to submit elsewhere. If your poem appears in print in our anthology for the first time and is subsequently reprinted elsewhere, we request an acknowledgment for subsequent publications.
MANUSCRIPTS: Email submissions only. Please use a large, plain font. No unsolicited attachments. If your submission requires a non-Latin alphabet, please send the English translation and let us know what other language(s) are available. All submissions must be sent as plain text in the body of the email. If the item requires special formatting, please include an explanation. If we are interested, we will request an attachment and give directions for how we would like to receive it.
No snail mail submissions are accepted. All submissions, including email, must include legal name, pen name (if any), postal address, telephone number, email address, and alternative email address (if you have one). Please set your spam filters/permission levels to allow our response. If we cannot contact you, your poems will be rejected.
DEADLINE: April 30, 2018
PUBLICATION: Summer, 2018
RESPONSE TIME: Rejections will generally be within 4-8 weeks. Acceptances may take longer.
CONTACT US: Please send your submission to: M. Kei, Editor, at: Keibooks at gmail dot com with the subject line: Stacking Stones sub: [Your Name]
KEIBOOKS: To learn more about Keibooks, including the full version of our submission policy and guidelines, visit:
We STRONGLY recommend joining Keibooks-Announce at: to receive updates about the project. You can also check the blog on our website.

Special Feature by Atlas Poetica

Dream Alchemy 

DREAMS HAVE BEEN WIDELY LINKED TO INSPIRATION. In the Tibetan Buddhist tradition, it is believed that there are six intermediate stages in living and dying. Each of these ‘in-between’ phases is called the bar-do and it is viewed as a powerful stage for awakening and discovering the heart of enlightenment.

Are dreams important to your writing?

Do you use dreams in your writing?


Dream Alchemy will be published as a Special Feature of 25 tanka on the Atlas Poetica website at: The general guidelines for Atlas Poetica apply. Dream Alchemy will publish summer, 2018.

Please submit five of your best dream-inspired tanka to us. Only one tanka per individual poet will be selected, so please send us your best poems. The poems must be original, previously unpublished and not under consideration by any other journal. Poems posted on social media platforms such as Twitter, Facebook or personal blogs will be considered.


Send submissions to Sonam Chhoki with the subject line: “Submission–Dream Alchemy”. Please send your tanka in the body of the email. Do not send attachments, which will be deleted. Please include a brief  (not more than 5 lines) bio-note about your writing.

Submission period: 30th November 2017–31st January 2018

Acceptance or non-acceptance of submissions will be notified as soon as possible after the deadline.



  1. Kei
    Editor, Atlas Poetica
    A Journal of World Tanka


A Message from M. Kei

A reminder: Atlas Poetica 30 is open for submissions: tanka, kyoka, gyogyohka, tanka prose, tanka sequences, shaped tanka, ryuka, sedoka, cherita, non-fiction, and book notes.

Send them in. If ATPO 30 fills, they’ll be considered for ATPO 31.
Reminder: Science Fiction tanka and kyoka special feature is open until Nov 30. GLs at:

M. Kei
Editor, Atlas Poetica
A Journal of World Tanka

Final Reminder for Tanka Society of America Contest

Last Contest Reminder


We have now received more than 500 entries for the 2017 Sanford Goldstein International Tanka Contest! There is one more day to enter. If you have not aready entered the contest, you have until Wednesday at midnight to do so.

Poems should be emailed to Ken Slaughter at with a subject line of TSA Contest Entries – [your name]. Please see for complete details.


Call for Submissions – Atlas Poetica

From M. Kei:

We’re happy to announce that Atlas Poetica is seeking submissions for a collection of 25 Arthropod tanka and kyoka to be edited by Grunge to be published at

Love them or hate them, every human lives alongside these creepy, crawly creatures, no matter geographic location or culture. And their forms are as varied as their habitats, whether they’re beetles, roaches, ants, scorpions, butterflies, spiders or even millipedes. There is a long tradition of insects and arachnids as the subjects of poetry, but even if you’ve never written about the buzz of a honeybee’s wing, we encourage you to take a moment to consider the world in which our tiny neighbors live.

Thank you to everyone participating. We’re looking forward to seeing your many-legged creativity!

Submissions: Poets may send up to twenty poems each, but only one poem will be chosen from each poet. Original poems are being sought, however, tanka previously published on personal social media accounts will also be considered, as long as publication information is provided. We are not accepting tanka prose, nor poetry that has been published in journals, books or other collaborative websites prior to being submitted to the Arthropod special feature.

All submissions must adhere to the general guidelines listed on the Atlas Poetica website. Therefore we ask that all poets be 16 years of age or older, and that all poems are sent in the body of the email. If you have a relevant file that needs to be sent as an attachment, please query the editor before sending.

To see the full list of guidelines, as well as our special features from the past, head on over to our main webpage.

Deadline: All submissions to the Arthropod Special feature must be sent in no later than May 31. Our planned publication is scheduled for this fall.


Email address for submissions: ap.arthropods (at) gmail (dot) com – subject line: 25 Arthropod Tanka and Kyoka

~M. Kei, editor, A Journal of Poetry of Place in Contemporary Tanka


Tanka Society of America Contest!!

Last year we received over 450 entries for the 2016 Sanford Goldstein International Tanka Contest! There are two changes this year that you should be aware of.

First, the submission window (April 1 – May 31) is a month earlier. Please make a note of it.

Second, we are announcing that the judges for this year’s contest are Janet Lynn Davis and James Chessing.

This latter announcement is a change from previous years, and is based on the growing number of societies in Japan, Europe, and the U.S., that name judges before competitions open.

Please read our submission guidelines at

We look forward to receiving your entries!