About
This is a small online magazine for short work that doesn’t behave.
We publish flash fiction and nonfiction under 1,000 words along with hybrid pieces that don’t fit cleanly anywhere else. We also except brief excerpts from longer works, complete enough to stand alone and unfinished enough to invite the rest. We’re interested in writing that is precise but unstable, controlled but slightly off. We’re interested in work that creates its own logic and follows it all the way through.
We would be happy to have any repeat authors.
Occasionally, we publish short influence posts—brief notes on the kinds of writing, forms, and fragments that shape what appears here.
A piece should feel like it could not exist in any other shape.
If it reads as slightly wrong but entirely intentional, it belongs here.
Submissions
Subject line:SUBMISSION: [Title]—[Fiction/Nonfiction/Hybrid/or Excerpt]
Include:
Piece pasted in body (attachments will work, also)
Under 1,000 words
Brief bio (1–2 sentences)
12-point font in Times New Roman, double spaced
Simultaneous submissions are welcome, notify if it’s accepted elsewhere
Previously published work will currently be considered
What we’re looking for:
Work that distorts slightly
Compression with intent
Strange logic that feels internally consistent
Emotional or conceptual dissonance
True work shaped by subjectivity
What we’re not looking for:
Traditional workshop-polished realism
Clean moral arcs
Over-explained pieces
Response time
2–4 weeks. Sometimes sooner.
Submit
Send to: brief.incorrect@gmail.com
Notes
If accepted, your work will be published on a set date; every Tuesday & Thursday. You will be notified, lauded, and hyperlinked. If there is no work, we’ll release our own.
We read everything.
Most pieces end with meaning.
We are not looking for that.
WHERE WE’RE LISTED
Aaron Boot is an editor with a background in visual art and a bias toward the strange. He studied at Kendall College of Art and Design and has worked as an editor with the advertising agency Our Full Attention, where clarity and compression were non-negotiable. His work has appeared in Maudlin House, Waxing & Waning, and elsewhere. His reading life leans toward the absurd, the hybrid, and the difficult-to-categorize.
