Bright Wall/Dark Room is currently accepting submissions for our monthly online magazine. Each issue is built around a particular theme, and we open up the submission process for each new issue 1-2 months in advance of the submission deadline. We are also now accepting general pitches and submissions (off-theme) for consideration. 

We’re looking for thoughtful analysis and wholehearted engagement, as opposed to standard reviews, clickbait, or hot takes. We publish interviews, profiles, formal analysis, cultural criticism, personal essays, and humor pieces. We're looking for writing that is savvy and insightful about filmmaking, but that also grapples in some way with the business of being alive. 

We tend to publish critical essays between 1500-3000 words, though we’ve certainly been known to publish pieces in other, longer formats. Creative approaches are always encouraged.

 

Ends on February 28, 2019

For our April issue, we’re looking for thoughtful and engaging writing on theatrical feature films with a runtime of 150 minutes or more! 

That’s right—while we often publish writing on TV series, for this issue we’re considering only films that were explicitly designed as a sustained cinematic experience. That means no miniseries, and no “it’s really a long movie” TV seasons (sorry, Twin Peaks: The Return. You know we love you).

With that in mind, we invite you to consider what it means to spend over two and a half hours immersed in a movie. While a long runtime often suggests the historical sweep of David Lean’s Lawrence of Arabia or Sergio Leone’s Once Upon a Time in America, it can also have profound effects on more intimate stories like Peter Medak’s The Ruling Class or Wim Wenders’ Kings of the Road. A long runtime can allow for extended ruminations of Andrei Rublev and The Sacrifice, or the maximalist overload of Inglorious Basterds and Django Unchained. It can benefit the rich depth of shading in ensemble works like Magnolia and Short Cuts, or the immersive effects of true-life stories like The Act of Killing and Hoop Dreams. In a world of shortening attention spans, we're here to celebrate and defend a movie's right to unapologetically take up your time.

As always, we’re looking for thoughtful analysis and wholehearted engagement, as opposed to standard reviews, clickbait, or hot takes. We publish interviews, profiles, formal analysis, cultural criticism, personal essays, and humor pieces. We're looking for writing that is savvy and insightful about filmmaking, but that also grapples in some way with the business of being alive. 

We tend to publish critical essays between 1800-3000 words, though we’ve certainly been known to publish pieces in other, longer formats. Creative approaches are always encouraged. 

We pay $50 per essay upon publication.

In order to be considered for the issue we’ll need to receive a first draft of your essay by February 28, 2019.

If you haven’t written for us before and want to know more about the submission process, or if you have a few different ideas and aren’t sure which one to pursue, please feel free to email the editorial team (editors@brightwalldarkroom.com) prior to the submission deadline with any pitches or questions. Also, before submitting, please check our archives to make sure we haven't covered the film you hope to write about within the last calendar year (we even have an alphabetized database of every film we've covered under the "Films" tab for extra convenience). 

For additional information, visit our Submissions page: http://brightwalldarkroom.com/submissions/

We welcome unsolicited essay submissions of any length, on any film or television related topic. If you'd like to submit a pitch or an essay to our editorial team, this is the place to do it. However, before you submit your piece, we recommend that you read our current issue online, or browse through our archives a bit, to get a sense of the kinds of things we tend to publish.

Please note: due to the number of submissions we receive, we aren't always able to respond to every single pitch or submission. However, if we are interested in your pitch or submission, you will be contacted within one month.

 

 

Bright Wall/Dark Room