Instructions to Contributors
Narrative publishes essays on narrative theory, essays on narrative and its relations to other modes of discourse, and essays of practical criticism based in diverse theoretical modes. The editors especially welcome submissions combining theoretical investigation and practical criticism. “Narrative” for us is a category that includes the novel, narrative poetry, history, biography, autobiography, film, and performance art. Because of our diverse audience, we are not interested in essays whose main contribution is to offer a new reading of a narrative by Author X. However, we do welcome new readings that are linked with some theoretical exploration or that are of interest in some other way to those who are not specialists in Author X.
Examples that indicate—but do not exhaust—the range of the journal:
- explorations of theoretical issues, e.g., a consideration of the powers and limits of the story-discourse distinction
- essays on narrative as a kind of discourse, e.g., narrative vs. lyric; film narrative in relation to verbal narrative
- combinations of theoretical inquiry and practical application, e.g., a reexamination of the relationship between homodiegetic and heterodiegetic narration in connection with an analysis of the narration of Vanity Fair
- readings of individual narratives that are part of some larger theoretical project or that point to implications beyond the particular text under discussion, e.g., Middlemarch’s relation to Victorian conceptions of ideal femininity or Lord Jim’s place in a Marxist history of the novel
- readings of individual narratives that significantly revise received opinions about them or that are especially compelling performances in themselves
- essays of institutional criticism or cultural commentary that focus on narrative or issues in narrative studies, e.g., an analysis of the implied narratives of different kinds of pedagogy; a study of the culture war as a struggle over narrative authority
Format. Narrative follows a house style based on The Chicago Manual of Style (15th ed.). Authors should submit an electronic version (.doc) to email@example.com. Manuscripts should be in English and double-spaced with one-inch margins and with left-margin justification only. After papers have been accepted for publication, revisions should be submitted once again to firstname.lastname@example.org.
Word Limits. Length is less important than substance, but in practice most essays that we publish fall within the range between 6500 and 9000 words.
Quotations. Quotations of fewer than eight lines are run into the text; quotations of eight lines or more are indented ten spaces from the left margin and double-spaced.
Because all sources will have full bibliographic information on the Works Cited page, parenthetical information will be minimal (usually including the cited author’s name, the page from which the quotation is taken, and, if the essay refers to more than one work by the same author, additional clarifying information, such as dates or abbreviated titles; if the cited author’s name appears in the text, it is not given parenthetically). If parenthetical information is needed to augment textual information, please choose from the following formats, depending upon what information is included in the text: (Genette 74), (Genette, Narrative Discourse 74), (Genette, Narrative Discourse), or (Narrative Discourse, 74). Use commas only to separate author and abbreviated title or to separate numbers; a comma is not needed between author and page number or title and page number. Parenthetical bibliographic information identifying sources should omit “p.,” “pp.” or “page” unless confusion will result.
Endnotes. Narrative uses endnotes, not footnotes, for commentary; include limited bibliographic information as necessary in endnotes, but provide full bibliographic information for all references on the double-spaced Works Cited page (see below). Authors should submit separate endnote sheets at the end of their manuscripts, following The Chicago Manual of Style (15th ed.).
Works Cited page. All submissions should include a double-spaced Works Cited page following the style formats in chapters 15 and 16 ofThe Chicago Manual of Style (15th ed.). “University” may be abbreviated “Univ.” and should be consistent; “Press” should be spelled out.
Images. Images should be sent individually, in TIFF, JPG, or PNG format, at least 300 dpi at page display size. The files should be numbered consecutively, and captions should be provided, including a permission line where appropriate.
Abstract / Keywords. Submitted manuscripts should contain an abstract and 4-6 keywords relevant to the article.
Guidelines for the abstract:
- Length: 250 words or less
- A synopsis of the essay's central problem or question in no more than two sentences
- An overview of the essay's proposed solution/answer to that problem/question
- A brief indication of the essay's methodology
- A brief explanation of the essay's significance for the critical conversations it seeks to influence. In other words, an indication of the essay's answer to the "so what?" question
For a more detailed (though still short) discussion of how to write an effective abstract, see this piece by Faye Halpern and James Phelan: https://www.insidehighered.com/advice/2017/02/23/importance-writing-effective-abstract-when-you-submit-journal-article-essay
Keywords. These should cover the most important concepts or ideas in an article, targeting words or phrases to direct scholars who are searching for papers on this specific topic. 4-6 keywords is a common amount. For more information, please see http://muse.jhu.edu/about/publishers/abstracts_and_keywords_faq.html.
Author biographical information. An author(s) bio of no more than 60 words per author should be included with each submission.
Copyrighted Material. Permission to reprint any previously published material (e.g., poetry and illustrations) must be obtained by the author from the copyright holder.
Please Submit Manuscripts to:
James Phelan, Editor
Frederick Luis Aldama, The Ohio State University
Michael Awkward, University of Pennsylvania
Janice Carlisle, Yale University
Robert Caserio, Pennsylvania State University
Ross Chambers, University of Michigan
Jay Clayton, Vanderbilt University
Mark Conroy, The Ohio State University
Susan Stanford Friedman, University of Wisconsin-Madison
Jared Gardner, The Ohio State University
Dorothy J. Hale, University of California, Berkeley
David Herman, The Ohio State University
Margaret Homans, Yale University
Audrey Jaffe, University of Toronto
Elizabeth Langland, Arizona State University
Brian McHale, The Ohio State University
Alan Nadel, University of Kentucky
Gerald Prince, University of Pennsylvania
Peter J. Rabinowitz, Hamilton College
John Richetti, University of Pennsylvania
David G. Riede, The Ohio State University
Shlomith Rimmon-Kenan, Hebrew University
Daniel Schwarz, Cornell University
Dan Shen, Peking University
Robyn Warhol, The Ohio State University
VOLUME 26/NUMBER 1
Say the Words: Reading for Cohesion in Don DeLillo’s Novel Point Omega
The Narrator Who Wasn’t There: Philip Roth’s The Human Stain and the Discontinuity of Narrating Characters
Unspeakable Images: On the Interplay between Verbal and Iconic Narration in Benedetti’s “Cinco anõs de vida”
The Paratext and Literary Narration: Authorship, Institutions, Historiographies
Hearing the Unsaid: Musical Narration in The Journey of Flower and Nirvana in Fire
W. Michelle Wang
Metafictional Amendments: Telepathic Metalepses in
Stranger than Fiction
Frequency—3 issues per year
Ad closing dates
|Issue||Reservations & copy to be sent by||PDF file due by|
|January||August 10||September 1|
|May||December 10||January 1|
|October||May 10||June 1|
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- Half page: $200
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Indexing and Abstracts
American Humanities Index, Arts and Humanities Citation Index, Current Contents, International Repertory of the Literature of Art, Linguistics and Language Behaviour Abstracts, MLA International Bibliography, and Research Alert.
Hear James Phelan, of the Ohio State University and Editor of Narrative, interview Gerald Prince, Professor of Romance Languages at Penn, and the elder statesman of the Society, and Susan Lanser, recently retired from Comparative Literature at Brandeis, and the person who initiated the branch of the field called feminist narratology. Both Gerry and Sue are past presidents of the Society. Also joing them is Per Krogh Hansen, from the University of Southern Denmark. He's a former director of their Center for Narratological Studies. And Sue J.Kim, Professor at the University of Massachusetts, Lowell. Sue works on race and narrative and was the coordinator of the Boston Conference in 2014.
Available digitally through Project Muse.