Firefly Southern Fiction
|Firefly Southern Fiction
the historical and
contemporary Southern fiction line of Lighthouse Publishing of the
Carolinas (LPC). The series will launch in 2015. LPC plans to release
two to four new books in the series each quarter.|
Extended Definition of Southern Fiction: Southern fiction is about
story, driven by characters who are distinctly southern and/or
characters who move to southern settings (which are also characters).
Southern characters fall into several categories and should not be
Writers of Southern fiction understand the diversity of the foods of
the South. They understand that Southerners—even those without strong
religious tendencies—will often “rest” in the South’s religion, which
for FSF’s purposes is conservative, evangelical Christianity. Writers
of Southern fiction should have a grasp on how characters within
Southern Fiction novels might play, sing, and dance to the music of the
South. Writers under the FSF banner should understand the politics of
the South—the history of it and the way it changed and stayed the same.
They should understand that Southerners can be called an “aristocrat”
or “old money,” a “redneck,” or described as being “back woods,” and
“good ol’ folks.” Southerners—and therefore writers of Southern
fiction—know the difference between a good good ol’ boy and a bad good
ol’ boy, and they never fall into turning their characters into a
cliché. Writers of Southern fiction understand that Southern characters
may think nothing of the sometimes/oftentimes bizarre behavior of her
people and their deeply-rooted superstitions, even within the church.
Southern characters in FSF novels know the landscapes of the South and
the cultural and language differences that lay within her various
regions. This is not to say that every character will hold every
quality; there should be diversity in the author’s portrayal of their
The Civil War is featured, overtly or as the source of attitudes and
ideals, in nearly all Southern fiction because, somehow, those four
years affected everything that came before and continues to affect
events today. Many Southerners still refer to it as the War of Northern
Aggression. Southern fiction within the Firefly Southern Fiction line
should understand the causes of the war, slavery, how the South’s
defeat affected the region and her people, Jim Crow laws and their
ramifications on Southern blacks, the Civil Rights Movement, the Klan,
and desegregation. But writers should never attempt to justify any poor
behavioral choices made during those eras which, in the light of
history, were misguided and cruel.
Southern fiction is strong in faith and religion. Even without it being
mentioned out loud, Southerners have a solid and personal sense of God
(see the above reference to Southerners and religion).
Southern fiction is strong in family, family history, and family
values. Her characters include people as well as small towns, big
cities, houses with wrap-around porches, plantations, farmhouses, and
shanties. Landscape is as important to story as plot and character.
Southern fiction can be as deep in angst as it is in humor. It can be
as haunting as it is hilarious. Within its pages one is likely to find
the “big house” and the “outhouse.” The faith, family dynamics,
tragedies, and triumphs of Firefly Southern Fiction characters must
ring true to life.
Dialect: As most
Southerners know, dialect changes from location to location in the
South. Those who live in the Appalachians do not speak in the same
dialect or with the same idioms as those who live in the Low Country of
South Carolina and Georgia. Dialect within region should ring true and
should never fall within stereotype. The flow of dialect and,
therefore, dialogue, should come naturally from character to character,
location to location.
those states commonly called “Dixie” (North and South Carolina,
Georgia, Alabama, Mississippi, Louisiana, and Arkansas), and may
include Texas, Oklahoma, Florida, Kentucky, and Virginia. Southern
locations sometimes includes West Virginia and Missouri.
Writing: At Firefly
Southern Fiction we believe that first and foremost, a story must
entertain. Stories should be strong in plot, character development and
change, and include elements of family and faith. Any romance within
the stories grows organically, naturally. Sex should be understated and
not gratuitous. While the use of “four-letter words” is not encouraged,
if the use of certain words lends itself to character and plot
development, we will be open-minded and look at each, case-by-case.
Violence should not be a part of the plot for the sake of shock value
but only as it adds to the story line and character development. Above
everything else, the work should be heartfelt and real. Southern
readers know true Southern situations and characterizations and are
able to identify with them and recognize when they are contrived.
Southern Fiction works accepted by FSF are those with words that
captivate from the first page, the first paragraph, the first sentence,
the first word, and the first syllable. This cannot be emphasized
Count: Word count for
works of both historical and contemporary Southern Fiction should run
somewhere between 65,000 and 90,000 words.
Submissions must include a theme, short synopsis (1 paragraph, single
spaced), full synopsis (1-2 pages, single spaced), at least 5 reader
benefits, marketing plan, competition analysis, author bio, and first
three chapters (double spaced).
proposals* in a single Word document and e-mail as an attachment to:
Eva Marie Everson
Acquisitions and Managing Editor
Firefly Southern Fiction, Imprint of LPC
*At this time we are considering submissions only from respected CBA
literary agencies. We will accept submissions from authors we meet at