Calls for submissions

We are open for submissions during the following periods:

March issue: 15th December – 14th February
July issue: 15th April – 14th June
November issue: 15th August – 14th October

For our July 2026 issue, we have chosen the theme of BELONGING, followed by TIME in November. Themes for 2027 will be announced later this year.

Open calls for submissions

Issue 18: Belonging

July 2026 issue: Belonging
Opens for submissions 15th April 2026 and closes for submissions 14th June 2026.

There are obvious belongings: to one’s family, school, congregation, neighbourhood. Or perhaps to one’s boxing club, gang, faction, writers’ circle.

Where we belong says as much about ourselves as our circumstances. Do we belong to a political party? Maybe. Do we act like we do? Sure. And, what happens when we don’t belong? When life has dealt us a rotten card? Loneliness? Maybe. A search for one’s tribe? Sounds like a plan. Non-belonging can be hard, to feel isolation, yet anyone can find others with similar interests and outlook online (or in person), wherever in the world they may be and however good-natured or abhorrent their views or actions are. It’s easy to find people and groups that conform to our own prejudices, date people who belong to our same social and economic groups—the digital world makes it so.

Belonging can be dangerous if membership of a group is more important than doing the right thing, not thinking about what is said, what is published, or why someone is encouraging a particular rhetoric or view of the world. Writers belong everywhere. Photographers belong everywhere. Witnesses belong everywhere. Yet, recent years have been notoriously dangerous for people who keep a real record, holding powerful and increasingly violent actors to account. Belonging can be small and local or apply to nations or continental groups, can be bridled with a link so strong it allows almost anything to be done in one’s name, but belonging also provides a voice for everyone to transform those groups in which they belong, starting with, we hope, by reflecting, writing and talking.

In this issue, we are looking for all manners of belonging, in the physical world, in the digital worlds, amongst nature, within cities, permanent belongings as well as temporary, whether you have published with us before, whether you have published at all, or would just like to respond through our new Letters section which provides space for all to contribute. We hope to hear from you!

Please see our FAQs and Submissions pages for more information, and for specific sections and submission length and information, read on below. All submissions should follow our Style Guide. We will not accept queries or pitches, only completed works previously unpublished, with the exception of visual arts and book excerpt selections.

Sections open to the public for the BELONGING issue:

Travel memoir: we invite submissions of nonfiction travel memoirs, 1,500 to 6,000 words in length, with a strong and cohesive narrative arc. For this issue, we seek stories of belonging—with people, places, communities—that have altered your perspective or understanding of the world. We are particularly interested in work that reflects mutual exchange, where belonging is not one-sided but shared. We encourage narratives that move beyond surface description to explore the deeper connections and insights that arise from genuine engagement with unfamiliar environments. Please send completed works to Nonfiction Editors Kerry Beth Neville, Samuel Autman, and Joelle Renstrom through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Belonging/Travel Memoir.

Decolonising travel: for this issue, we seek essays, audio stories, narrative maps, comics, graphs, and other forms that reimagine what it means to belong—and to be made to feel that one does not—while travelling. We’re interested in stories that move beyond tourism’s fantasy of frictionless welcome to explore who is granted belonging where, and on whose terms. We want writing that examines belonging as a site of both comfort and coercion—moments where travellers must reckon with histories embedded in landscapes and the ways race, gender, class, and citizenship determine whose presence reads as natural and whose as intrusion. Of particular interest: belonging claimed through diaspora return; indigenous relationships to land that predate and survive colonial remapping; the temporary belonging of the tourist versus the permanent unbelonging of the displaced; and stories that ask who gets to feel at home in the world—and who is made to carry their unbelonging in their body. As always, we prioritise writing from the global majority and other marginalised voices. Please send completed works (preferably 1000-3000 words) to Decolonising Travel Editor Faith Adiele through Submittable. Include a short bio and introduction to the work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Belonging/Decolonising Travel.

General and speculative nonfiction: we seek all forms of nonfiction writing. For BELONGING, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors, Kristin Winet, Lisa VanderVeen, and Tanya Ward Goodman, through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Belonging/Nonfiction

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50-word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring, through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Belonging/New Nature Writing.

Travel flash: we seek short works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, so keep it tight. For the BELONGING issue, we are looking for place-based/travel pieces that explore the sense of being a part of a place, an event, a moment, a community, or a relationship. Conversely, we invite an exploration of whether a place or group can belong to you, and how to look at claims of ownership of a location or experience. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Paula Read via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Belonging/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. Submit your work to the Eaten Editor, Paula Lee, via Submittable. Clarifying questions can be sent to [email protected], title email: Belonging/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, village—anywhere that is familiar to you. We urge writers to view travel as not merely an exploration or uncovering of far-off places but also those close to home. Consider how familiar places transform us into who we are and how we become anchored to place, either through physical presence, memories, relationships, or stories. Does a sense of place become a sense of self? For BELONGING, we’re interested in places somewhere close to you that give you peace, maybe even one that you have abandoned or forsaken but recently returned to, and now found acceptance – or otherwise. We encourage essays on mutual or unexpected kinship and affinity, whether from human interactions, with objects or the place itself. Send us your essays that take familiar surroundings and everyday experiences and transform them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions to the Streetview Editors, Anis Ibrahim and Shehla Anjum, via Submittable. Clarifying questions can be sent to [email protected], title email: Belonging/Streetview.

Travel fiction: we seek works of fiction that reimagine BELONGING. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. Take that wherever it leads. 1500-3000 words. Please send completed works to Fiction Editor Mehreen Ahmed through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Belonging/Travel Fiction.

Flash fiction: we seek short works of fiction or hybrid works for the Flash Fiction section. Pieces must be between 150 and 300 words, after edits. Make every word count. For the BELONGING issue, we are looking for place-based stories that look at all facets of what it means to belong to something, to have something that belongs to you, to feel kinship and to interrogate what that means. Science fiction and experimental works are welcome. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Paula Read via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Belonging/Flash Fiction.

Poetry: we seek poetry with a diversity of style, voice, and form. 1-2 pages. Please send completed works to Senior Poetry Editors David Ishaya Osu and Devi Laskar and Poetry Editor Amanda White through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). If you provide poems as individual, editable Word documents rather than protected PDFs, that would be much appreciated. Clarifying questions can be sent to [email protected], title email Belonging/Poetry.

Book reviews: we encourage reviews of all books that respond to BELONGING literally or metaphorically. Reviews of recent titles are particularly encouraged, but we are also open to others. We would love to cover something by Eve Babitz and her astute, emotionally intelligent writing about place and people in SoCal, Hye-Young Pyun’s incisive novel The Hole, and Paulo Cuelho’s The Fifth Mountain. Also, anything by Haruki Murakami and his menagerie of wandering characters, whose reflections on sprawling and unreal topographies reveal so much about the real world. And Graham Greene, especially Monsignor Quixote, a novel that strikes at the heart of going on a quest and how grand and ridiculous the endeavor can be when people take themselves too seriously; how the most meaningful answers can be found in the most unexpected places; and how our place in the world is where we make it, after all has been said and done. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Belonging/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and explosive narrative, which we will reprint in the BELONGING issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Belonging/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue, we are looking for many and varied responses to BELONGING, including but not limited to street photography, portraiture, fine art, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Belonging/Photo Essay or Belonging/Photo Interview.

Art moving image: artists who work with video are strongly encouraged to pitch their work for the journal. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Belonging/Art Moving Image.

Documentary film: documentary film provides a powerful, accessible narrative storytelling format. All documentary film submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Belonging/Documentary Film.

Video essays: we are particularly interested in personal, honest, and open responses to the world around us. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Belonging/Video Essay.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Belonging/Exhibition Reviews.

Folio: this is an area to showcase a back catalogue of work by Panorama authors, and to highlight work from authors we are yet to publish but whose published work is no longer accessible elsewhere. Many magazines and journals don’t last so long—often burning brightly then fading or disappearing—so if you’ve been affected by a publication closing and would like to keep your work available, you retain rights to your work and feel Panorama would be a good home, please do put your folio forward via Submittable and we’ll have a look. Clarifying questions can be sent to [email protected], title email: Belonging/Folio.

Letters: anyone can write letters to the Editors via the email address [email protected] to be considered for inclusion in the BELONGING edition, title email: Belonging/Letters. Letters can be responses to work in any previous edition, related to authors we’ve featured, themes we’ve explored, or to follow up on any previous letters featured in Panorama.

Guidance

We require a cover letter for all submissions, with certain information provided [introduction, background, publication history, social handles]. We also ask that all submitted work be sent as a Word Doc attachment, double-spaced, with page numbers. We are unable to accept work within emails, or sent as PDFs. We regret that due to the number of submissions we receive, submissions that do not meet our guidelines are declined. For more on our submissions guidelines, read the related FAQs and Submissions pages. All emails should be sent to the section editor as indicated, and titled as requested. By following our guidelines, you can help us accept your work more quickly. Thank you.

Due to the number of submissions we receive, and our goal of publishing as many writers as possible, writers may only submit or query one work per issue. If your submission or query is declined for an issue, and the submission call is still open, you can submit another work or query again to that issue. Please submit all work via Submittable.

Previous calls for submissions

Issue 17: Reflections

March 2026 issue: Reflections
Opens for submissions 15th December 2025 and closes for submissions 14th February 2026.

In each issue, we proffer a looking back, particularly through memoir.

Yet, in this REFLECTIONS edition, we ask authors to go further: to look at the large or small experiences that define our public and private selves, our moments of learning. Who are the characters that come in and out of our lives, and why? What journeys do we make through barriers and thresholds, where there can be no looking back, and what sticks with us – the residue of those moments that live on?

Amongst a world of streams, streams of posts, videos, likes, hates, hot takes, immediate takes, emails, phone calls, zooms, we jump to conclusions, assumptions, and prejudices to be first, to reinforce our versions of the world, or simply just to respond or feel something, anything. We invest in speculative ventures, assuming others to follow and profits to be made, irrespective of any underlying value.

To reflect today feels like a revolutionary act, and we encourage it all.

Sections open to the public for the REFLECTIONS issue:

Travel memoir: we invite submissions of nonfiction travel memoirs, 1,500 to 6,000 words in length, with a strong and cohesive narrative arc. For this issue, we seek accounts of meaningful reflections—with people, places, or animals—that have altered your perspective or understanding of the world. We are particularly interested in work that reflects mutual exchange, where transformation is not one-sided but shared. We encourage narratives that move beyond surface description to explore the deeper connections and insights that arise from genuine engagement with unfamiliar environments. Please send completed works to Nonfiction Editors Kerry Beth Neville, Samuel Autman, and Joelle Renstrom through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Reflections/Travel Memoir.

Decolonising travel: for this issue, we seek essays, audio stories, narrative maps, comics, graphs, and other forms that reimagine what it means to reflect—reflections that traverse people, places, and cultures while travelling. We’re interested in stories that move beyond the colonial gaze of “discovery” to explore mutual recognition, unexpected intimacy, and the complex negotiations of identity that occur when bodies, histories, and worldviews intersect. We want writing that examines reflections as sites of both vulnerability and power—moments where travellers must reckon with their own assumptions and the ways they are perceived and received. Stories that explore what happens when the reflection changes the traveller as much as, or more than, the place being visited. Of particular interest: reflections that reveal hidden histories or challenge dominant narratives about place; thoughts that complicate simple categories of insider/outsider, local/foreign, host/guest; moments of recognition across difference; and stories that interrogate how race, gender, class, and citizenship shape who gets to reflect about what and whom, and on what terms. As always, we prioritise voices from the global majority and other marginalised voices. Please send completed works (preferably 1,000-3,000 words) to Decolonising Travel Editor Faith Adiele through Submittable. Include a short bio and introduction to the work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Reflections/Decolonising Travel.

General and speculative nonfiction: we seek all forms of nonfiction writing. For REFLECTIONS, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, Tolu Daniel, and Tanya Ward Goodman through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Reflections/Nonfiction

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50-word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Reflections/New Nature Writing.

Travel flash: we seek short works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, so keep it tight. For the REFLECTIONS issue, we are looking for place-based/travel pieces that explore the unexpected, the uncomfortable, the unplanned, the detours that take a traveller to people, places, meetings, confrontations and resolutions that mark a revelatory fork in the road. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Paula Read via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Reflections/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Reflections/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, or village. Travelling is more than visiting another place – it can happen anywhere, even close to home. Give us a sense of place of somewhere close to you, in essays that take familiar surroundings and everyday experiences, and transform them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Reflections/Streetview.

Travel fiction: we seek works of fiction that reimagine REFLECTIONS. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. Take that wherever it leads. 1500-3000 words. Please send completed works to Fiction Editor Mehreen Ahmed through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Reflections/Travel Fiction.

Flash fiction: we seek short works of fiction or hybrid works for the Flash Fiction section. Pieces must be between 150 and 300 words, after edits. Make every word count. For the REFLECTIONS issue, we are looking for place-based stories that start in one direction and then find themselves going in another due to reflection, about place, a person, a moment, or a thunderbolt of experience. Science fiction and experimental works are welcome. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Paula Read via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Reflections/Travel Flash.

Book reviews: we encourage reviews of all books that respond to REFLECTIONS literally or metaphorically. Reviews of recent titles are particularly encouraged, but we are also open to others. We would love to cover something by Eve Babitz and her astute, emotionally intelligent writing about place and people in SoCal, Elif Shafak and her latest novel, There Are Rivers in the Sky (but also any of her previous material), Hye-Young Pyun’s incisive novel The Hole, and Paulo Cuelho’s The Fifth Mountain. Also, anything by Haruki Murakami and his menagerie of wandering characters, whose reflections on sprawling and unreal topographies reveal so much about the real world. And Tim Winton, whose novels are punctuated with characters filled with curiosity and spirit. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Reflections/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and explosive narrative, which we will reprint in the REFLECTIONS issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Reflections/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue, we are looking for many and varied responses to REFLECTIONS, including but not limited to street photography, portraiture, fine art, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Reflections/Photo Essay or Reflections/Photo Interview.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Reflections/Exhibition Reviews.

Read Issue 17: Reflections.

Issue 16: Encounters

November 2025 issue: Encounters
Opens for submissions 15th August 2025 and closes for submissions 14th October 2025.

Sections open to the public for the ENCOUNTERS issue:

Travel memoir: we invite submissions of nonfiction travel memoirs, 1,500 to 6,000 words in length, with a strong and cohesive narrative arc. For this issue, we seek accounts of meaningful encounters—with people, places, or animals—that have altered your perspective or understanding of the world. We are particularly interested in work that reflects mutual exchange, where transformation is not one-sided but shared. We encourage narratives that move beyond surface description to explore the deeper connections and insights that arise from genuine engagement with unfamiliar environments. Please send completed works to Nonfiction Editors Kerry Beth Neville, Samuel Autman, and Joelle Renstrom through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Encounters/Travel Memoir.

Decolonising travel: for this issue, we seek essays, audio stories, narrative maps, comics, graphs, and other forms that reimagine what it means to encounter—and be encountered by—people, places, and cultures while travelling. We’re interested in stories that move beyond the colonial gaze of “discovery” to explore mutual recognition, unexpected intimacy, and the complex negotiations of identity that occur when bodies, histories, and worldviews intersect. We want writing that examines encounters as sites of both vulnerability and power—moments where travellers must reckon with their own assumptions and the ways they are perceived and received. Stories that explore what happens when the encounter changes the traveller as much as, or more than, the place being visited. Of particular interest: encounters that reveal hidden histories or challenge dominant narratives about place; meetings that complicate simple categories of insider/outsider, local/foreign, host/guest; moments of recognition across difference; and stories that interrogate how race, gender, class, and citizenship shape who gets to encounter whom, and on what terms. As always, we prioritise voices from the global majority and other marginalised voices. Please send completed works (preferably 1,000-3,000 words) to Decolonising Travel Editor Faith Adiele through Submittable. Include a short bio and introduction to the work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Encounters/Decolonising Travel.

General and speculative nonfiction: we seek all forms of nonfiction writing. For ENCOUNTERS, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, Tolu Daniel, and Tanya Ward Goodman through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Encounters/Nonfiction

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50-word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Encounters/New Nature Writing.

Travel flash: we seek short works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, so keep it tight. For the ENCOUNTERS issue, we are looking for place-based/travel pieces that explore the unexpected, the uncomfortable, the unplanned, the detours that take a traveller to people, places, meetings, confrontations and resolutions that mark a revelatory fork in the road. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Paula Read via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Encounters/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Encounters/Eaten.

Travel fiction: we seek works of fiction that reimagine ENCOUNTERS. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. Take that wherever it leads. 1500-3000 words. Please send completed works to Guest Fiction Editor Mehreen Ahmed through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Encounters/Travel Fiction.

Flash fiction: we seek short works of fiction or hybrid works for the Flash Fiction section. Pieces must be between 150 and 300 words, after edits. Make every word count. For the ENCOUNTERS issue, we are looking for place-based stories that start in one direction and then find themselves going in another due to a singular encounter with a place, a person, a moment, or a thunderbolt of experience. Science fiction and experimental works are welcome. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Paula Read via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Encounters/Travel Flash.

Book reviews: we encourage reviews of all books that respond to ENCOUNTERS literally or metaphorically. Reviews of recent titles are particularly encouraged, but we are also open to others. We would love to cover something by Eve Babitz and her astute, emotionally intelligent writing about place and people in SoCal, Elif Shafak and her latest novel, There Are Rivers in the Sky (but also any of her previous material), Hye-Young Pyun’s incisive novel The Hole, and Paulo Cuelho’s The Fifth Mountain. Also, anything by Haruki Murakami and his menagerie of wandering characters, whose bizarre encounters in sprawling and unreal topographies reveal so much about the real world. And Tim Winton, whose novels are punctuated with characters filled with curiosity and spirit. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Encounters/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and explosive narrative, which we will reprint in the ENCOUNTERS issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Encounters/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue, we are looking for many and varied responses to ENCOUNTERS, including but not limited to street photography, portraiture, fine art, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Encounters/Photo Essay or Encounters/Photo Interview.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Encounters/Exhibition Reviews.

Folio: for our ENCOUNTERS edition, we will be introducing a folio section. This will be an area to showcase a back catalogue of work by authors from Panorama. It will also be a section where we highlight work from authors we are yet to publish but whose published work is no longer accessible elsewhere. Many magazines and journals don’t last so long—often burning brightly then fading or disaappearing—so if you’ve been affected by a publication closing and would like to keep your work available, you retain rights to your work and feel Panorama would be a good home, please do put your folio forward via Submittable and we’ll have a look. Clarifying questions can be sent to [email protected], title email: Panorama Folio.

Read Issue 16: Encounters.

Issue 15: Paris

July 2025 issue: Paris
Opens for submissions 1st May 2025 and closes for submissions 14th June 2025.

Paris has been the site of opulence, resistance, rebellion, and style. It has inspired great writing and writers, philosophy and philosophers. In this issue, our PARIS edition, we are looking for writing which connects with the Parisian city streets, the arrondissements, the banlieues—from the gilet jaune to haute couture, to anything that responds to the idealised, imagined, or very real versions of Paris.

Sections open to the public for the PARIS issue:

Travel memoir: we seek works of nonfiction travel memoir with a strong narrative arc. 1500 to 6000 words. Please send completed works to Nonfiction Editors Kerry Beth Neville, Samuel Autman, and Joelle Renstrom through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Paris/Travel Memoir.

Decolonising travel: For this issue, we’re seeking essays or visual stories that take us into, around, atop, or below the city. Sensory maps that offer new ways of experiencing neighbourhoods. Guides to navigating contested urban territories. Passage through ancient cities and floating cities. New takes on mythologised cities that have lured travellers for centuries. Meditations on megacities and temporary cities. Portraits of cities as characters. We are committed to working with underrepresented voices and those from the global majority, and seek writing that interrogates travel privilege and imperialist language. Please send completed works (preferably 1,000-3,000 words) to Decolonising Travel Editor Faith Adiele through Submittable. Include a short bio and introduction to the work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Paris/Decolonising Travel.

General and speculative nonfiction: we seek all forms of nonfiction writing. For PARIS, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, Tolu Daniel, and Tanya Ward Goodman through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Paris/Nonfiction

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50-word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Paris/New Nature Writing.

Travel flash: we seek short works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Make every single word count. For the Paris issue, we are looking for place-based/travel pieces that explore navigating difficulty, whether that means physically, emotionally, politically, environmentally, or all of the above. Submit your work to Flash Editor Paula Read via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Paris/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Paris/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, or village. Travelling is more than visiting another place – it can happen anywhere, even close to home. We look forward to receiving essays that take familiar surroundings and everyday experiences, transforming them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Paris/Streetview.

Travel fiction: we seek works of fiction that reimagine Paris. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. Take that wherever it leads. 1500-3000 words. Please send completed works to Fiction Editor Vimi Bajaj through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Paris/Travel Fiction.

Flash fiction: we seek short works of fiction or hybrid works for the Flash Fiction section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Make every word count. For the Paris issue, we are looking for place-based/travel pieces that explore navigating difficulty, whether that means physically, emotionally, politically, environmentally, or all of the above. Submit your work to Flash Editor Paula Read via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Paris/Flash Fiction.

Poetry: we seek poetry with a diversity of voices, formats, and flavours. 1-2 pages. Please send completed works to Senior Poetry Editors David Ishaya Osu and Devi Laskar and Poetry Editor Amanda White through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Paris/Poetry.

Book reviews: we encourage reviews of all books that respond to PARIS literally or metaphorically. Reviews of recent titles are particularly encouraged, but we are also open to others. We would love to cover something by Barbara Kingsolver, Pat Barker, Shehan Karunatilaka (The Seven Moons of Maali Almeida), and Joan Didion. Also, Children of the Volcano by Ros Belford; A Deeper South by Pete Candler; and Open Throat by Henry Hoke. And Blood Meridian and/or The Road by Cormac McCarthy – on the destructive but redemptive power of drifting in the wake of revelation. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Paris/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and explosive narrative, which we will reprint in the PARIS issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Paris/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue we are looking for many and varied responses to PARIS including but not limited to topographic works, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Paris/Photo Essay or Paris/Photo Interview.

Documentary film: documentary film provides a powerful, accessible narrative storytelling format. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Paris/Documentary Film.

Video essays: following the success of Samuel Autman’s The Train Rolls On, we are delighted to open a general call for video essays. We are particularly looking for intensely personal, honest, and open responses to the world around us. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Paris/Video Essay.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Paris/Exhibition Reviews.

Read Issue 15: Paris.

Issue 14: Survival

March 2025 issue: Survival
Opens for submissions 17th January 2025 and closes for submissions 28th February 2025.

Sections open to the public for the SURVIVAL issue:

General and speculative nonfiction: we seek all forms of nonfiction writing. For SURVIVAL, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, Tolu Daniel, and Tanya Ward Goodman through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Survival/Nonfiction

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50-word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Survival/New Nature Writing.

Travel flash: we seek short works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Make every single word count. For the Survival issue, we are looking for place-based/travel pieces that explore navigating difficulty, whether that means physically, emotionally, politically, environmentally, or all of the above. Submit your work to Flash Editors Paula Read and Kristin Winet via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Survival/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Survival/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, or village. Travelling is more than visiting another place – it can happen anywhere, even close to home. We look forward to receiving essays that take familiar surroundings and everyday experiences, transforming them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Survival/Streetview.

Travel fiction: we seek works of fiction that reimagine survival. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. For this issue, we’d particularly like to encourage more of an existential take on the theme of survival in modern times. Take that wherever it leads. 1500-3000 words. Please send completed works to Fiction Editor Vimi Bajaj through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Survival/Travel Fiction.

Flash fiction: we seek short works of fiction or hybrid works for the Flash Fiction section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Make every word count. For the Survival issue, we are looking for place-based/travel pieces that explore navigating difficulty, whether that means physically, emotionally, politically, environmentally, or all of the above. Submit your work to Flash Editors Paula Read and Kristin Winet via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Survival/Flash Fiction.

Book reviews: we encourage reviews of all books that respond to SURVIVAL literally or metaphorically. Reviews of recent titles are particularly encouraged, but we are also open to others. We would love to cover something by Barbara Kingsolver, Pat Barker, Shehan Karunatilaka (The Seven Moons of Maali Almeida), and Joan Didion. Also, Children of the Volcano by Ros Belford; A Deeper South by Pete Candler; and Open Throat by Henry Hoke. And Blood Meridian and/or The Road by Cormac McCarthy – on the destructive but redemptive power of drifting in the wake of revelation. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Survival/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and explosive narrative, which we will reprint in the SURVIVAL issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Survival/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue we are looking for many and varied responses to SURVIVAL including but not limited to topographic works, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Survival/Photo Essay or Survival/Photo Interview.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Survival/Exhibition Reviews.

Read Issue 14: Survival.

Issue 13: Fire

November 2024 issue: Fire
Opens for submissions 1st September 2024 and closes for submissions 14th October 2024.

Fire: /ˈfʌɪə/ origin: Old English fȳr (noun), fȳrian ‘supply with material for a fire’, of West Germanic origin; related to Dutch vuur and German Feuer.

Noun 1. a process in which substances combine chemically with oxygen from the air and typically give out bright light, heat, and smoke; combustion or burning. 2. a destructive burning of something. 3. a collection of fuel, especially coal or wood, burnt in a controlled way to provide heat or a means for cooking. 4. a domestic heating appliance that uses electricity or gas as fuel. 5. one of the four elements in ancient and medieval philosophy and in astrology (considered essential to the nature of the signs Aries, Leo, and Sagittarius). 6. a burning sensation. 7. fervent or passionate emotion or enthusiasm. 8. a glowing or luminous quality. 9. the shooting of projectiles from weapons, especially bullets from guns. 10. strong criticism or antagonism.

Verb 1. discharge a gun or other weapon in order to propel (a bullet or projectile). 2. discharge (a gun or other weapon). 3. (of a gun) be discharged. 4. direct (questions or statements, especially unwelcome ones) towards someone in rapid succession. 5. (fire something off) —send a message aggressively •he fired off a letter informing her that he regarded the matter with the utmost seriousness. 6. dismiss (an employee) from a job. 7. supply (a furnace, engine, etc.) with fuel. 8. (of an internal-combustion engine) undergo ignition of its fuel when started. 9. start (an engine or other device). 10. ‹archaic›set fire to. 11. stimulate or excite (the imagination or an emotion). 12. fill (someone) with enthusiasm. 13. (fire up) —show sudden anger. 14. bake or dry (pottery, bricks, etc.) in a kiln.

Human discovery of fire gave us warmth, protection, a better diet, and freedom to move into regions previously uninhabitable. Often held as a key turning point in the evolution of humankind, fire has influenced culture, art, relations, tools, and innovation such that fire can be the start of anything whether a running race that begins with the firing of a gun, or a new idea that fires in ones mind. Fire can represent anger, love, passion. In this issue, we ask what fires you up, what instils the fire in you, and lights up the world today. Fire can also be destructive and we want to hear from that side too.

Sections open to the public for the FIRE issue:

General and speculative nonfiction: we seek all forms of nonfiction writing. For FIRE, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, Tolu Daniel, and Tanya Ward Goodman through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Fire/Nonfiction

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50-word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Fire/New Nature Writing.

Travel flash: we seek short works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Make every single word count. For the Fire issue, we are looking for work that highlights fire, in all its forms. There should be a focus on how fire impacts or affects human travel, in ways large or small, past, present, or future. Of special interest is a look at how our view of fire has evolved, or has remained constant, over time. Submit your work to Flash Editors Paula Read and Kristin Winet via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Fire/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Fire/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, or village. Travelling is more than visiting another place – it can happen anywhere, even close to home. We look forward to receiving essays that take familiar surroundings and everyday experiences, transforming them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Fire/Streetview.

Travel fiction: we seek works of fiction that reimagine fire. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. 1500-3000 words. Please send completed works to Fiction Editor Vimi Bajaj through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Fire/Travel Fiction.

Flash fiction: we seek short works of fiction or hybrid works for the Flash Fiction section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Make every word count. For the Fire issue, we are looking for work that highlights fire in all its forms. There should be a focus on how fire manifests, how it impacts or affects humans and/or place, in ways large or small, past, present, or future. We’re especially interested in fiction pieces that interrogate fire as metaphor or fire as a catalyst for change. Submit your work to Flash Editors Paula Read and Kristin Winet via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Fire/Flash Fiction.

Book reviews: we encourage reviews of all books that respond to FIRE literally or metaphorically. Reviews of recent titles are particularly encouraged, but we are also open to others. We would love to cover something by Barbara Kingsolver, Pat Barker, Shehan Karunatilaka (The Seven Moons of Maali Almeida), and Joan Didion. Also, Children of the Volcano by Ros Belford; A Deeper South by Pete Candler; and Open Throat by Henry Hoke. And Blood Meridian and/or The Road by Cormac McCarthy – on the destructive but redemptive power of drifting in the wake of revelation. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Fire/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and explosive narrative, which we will reprint in the FIRE issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Fire/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue we are looking for many and varied responses to FIRE including but not limited to topographic works, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Fire/Photo Essay or Fire/Photo Interview.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Fire/Exhibition Reviews.

Read Issue 13: Fire.

Issue 12: Cities

July 2024 issue: Cities
Opens for submissions 1st May 2024 and closes for submissions 14th June 2024.

City: /ˈsɪti/ origin: Middle English: from Old French cite, Latin civitas, and civis ‘citizen.’ Noun 1. A large town or place with a large population. 2. A large urban centre incorporated by the state, province, or Crown. 3. An ancient Greek city-state; polis. 4. The people of a city collectively.

“What strange phenomena we find in a great city, all we need do is stroll about with our eyes open” ― Charles Baudelaire
“Walkers are ‘practitioners of the city,’ for the city is made to be walked” ― Rebecca Solnit
“I know a city with tall trees” … “as tall as the tower of Babylon” ― Bashir Sakhawarz
“This equation has placed our cities among the most dangerous in the world and has placed our youth among the most empty and most bewildered” ― James Baldwin

For this issue, we seek work that coalesces around the theme of ‘cities.’ Whether in love, angst, or indifference to the bombastic urban melting pots that cater to every need, for a price. Today, more than half the world’s population live in cities. By 2050, this number is expected to rise to 70%. There is an enduring appeal of city jobs, education, healthcare, and convenience. If you were born and raised in a city and cannot imagine life elsewhere, we want to hear from you. If you have eschewed the pull of the city and its orbit entirely, we want to hear from you too.

Sections open to the public for the CITIES issue:

General and speculative nonfiction: we seek all forms of nonfiction writing. For CITIES, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, Tolu Daniel, and Tanya Ward Goodman through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Cities/Nonfiction

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50-word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Cities/New Nature Writing.

Travel flash: we seek short works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Make every single word count. For the Cities issue, we are looking for work that highlights urban existence, in all its forms. There should be a focus on human travel’s interaction with urban areas, large or small, past, present, or future. Of special interest is a look at how urban areas are changing or have changed due to demographic and environmental influences. Submit your work to Flash Editors Paula Read and Kristin Winet via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Cities/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Cities/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, or village. Travelling is more than visiting another place – it can happen anywhere, even close to home. We look forward to receiving essays that take familiar surroundings and everyday experiences, transforming them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Cities/Streetview.

Travel fiction: we seek works of fiction that reimagine cities. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. 1500-3000 words. Please send completed works to Fiction Editor Vimi Bajaj through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Cities/Travel Fiction.

Flash fiction: we also seek flash fiction works for the Flash Fiction section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of place and tell a story. For the Cities issue, we will look for works that explore connections, interactions, and impacts between cities (real or imagined), humans, living beings, however large or small. Make every word count. Submit your work to Flash Editors Paula Read and Kristin Winet using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Cities/Flash Fiction.

Poetry: we seek poetry with a strong eco-narrative. 1-2 pages. Please send completed works to Senior Poetry Editors David Ishaya Osu and Devi Laskar and Poetry Editor Amanda White through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Cities/Poetry.

Book reviews: we encourage reviews of all books that respond to cities literally or metaphorically. Reviews of recent titles are particularly encouraged, but we are also open to others. We would love to cover something by Alessandro Baricco, Abdulrazak Gurnah, Antonio Tabucchi, Barbara Kingsolver, Pat Barker, Shehan Karunatilaka (The Seven Moons of Maali Almeida), and Siri Hustvedt. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Cities/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and city theme, which we will reprint in the CITIES issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Cities/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue we are looking for many and varied responses to CITIES including but not limited to topographic works, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Cities/Photo Essay or Cities/Photo Interview.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Cities/Exhibition Reviews.

Read Issue 12: Cities.

Issue 11: Ecology

March 2024 issue: Ecology
Opens for submissions 8th January 2024 and closes for submissions 14th February 2024.

Ecology: /ɪˈkɒlədʒi, ɛˈkɒlədʒi/ origin: late 19th cent. oecology, from Greek oikos ‘house.’ Noun 1. The branch of biology that deals with the relations of organisms to one another and to their physical surroundings. 2. The political movement concerned with protection of the environment.

For this issue, we seek stories that respond to ecology in all its forms, from its earliest roots to present-day ecologies which span people, organisms, systems, and worlds. Work that follows in the footsteps of authors such as John Muir, Rebecca Solnit, and David Olusoga is encouraged.

Sections open to the public for the ECOLOGY issue:

Decolonising travel: In this issue, we’re not interested in service articles about ecotourism or sustainable travel, but rather in essays that use travel to complicate our relationships with our surroundings or to redefine natural or constructed environments. For example, investigations into hidden ecologies beneath the surface, migrations/returns to altered landscapes, or narrative maps that offer new ways of seeing place. As always, we encourage voices from the global majority and writing that’s aware of power dynamics in travel and challenges imperialist tropes and language. Roughly 1,000-3,000 words. Please send completed works to Decolonising Travel Editor Faith Adiele through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Ecology/Decolonising Travel.

General and speculative nonfiction: we seek all forms of nonfiction writing. For ECOLOGY, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, and Tolu Daniel through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Ecology/Nonfiction.

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50-word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Ecology/New Nature Writing.

Travel flash: we seek short works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Make every single word count. For the Ecology issue, we are looking for work that highlights interactions between humans and their surroundings. There should be a focus on human travel’s impact on the environment, be it urban or wilderness, real or imaginary, large or small, past, present, or future. Submit your work to Flash Editors Paula Read and Kristin Winet via Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Ecology/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Ecology/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, or village. Travelling is more than visiting another place – it can happen anywhere, even close to home. We look forward to receiving essays that take familiar surroundings and everyday experiences, transforming them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Ecology/Streetview.

Travel fiction: we seek works of fiction that reimagine ecology. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. 1500-3000 words. Please send completed works to Fiction Editor Vimi Bajaj through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Ecology/Travel Fiction.

Flash fiction: we also seek flash fiction works for the Flash Fiction section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of place. For the Ecology issue, we will look for works that explore connections, interactions, and impacts between humans and other living things, however large or small. Show us what eco-fiction can do, and make every word count. Submit your work to Flash Editors Paula Read and Kristin Winet using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Ecology/Flash Fiction.

Book reviews: we encourage reviews of all books that respond to ecology literally or metaphorically. Reviews of recent titles are particularly encouraged, but we are also open to others. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Ecology/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and ecological theme, which we will reprint in the ECOLOGY issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Ecology/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue we are looking for many and varied responses to ECOLOGY including but not limited to topographic works, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Ecology/Photo Essay or Ecology/Photo Interview.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Ecology/Exhibition Reviews.

Read Issue 11: Ecology.

Issue 10: Intimacy

November 2023 issue: Intimacy

Opens for submissions 1st September 2023 and closes for submissions 30th September 2023.

Intimacy: /ˈɪntɪməsi/ origin: late Middle English from late Latin intimare ‘impress, make familiar,’ from intimus ‘inmost.’ Noun 1. Close familiarity or friendship. 2. A cosy and private or relaxed atmosphere. 3. Sexual intercourse. 4. An intimate remark. 5. Closeness of observation or knowledge of a subject.

‘Intimacy with the earth apparently awakens in us, at some wordless level, a primal knowledge of the nature of our attachments to physical landscapes.’
― Barry Lopez
‘I hate solitude, but I’m afraid of intimacy. The substance of my life is a private conversation … I have never wanted a communion of souls. It’s already hard enough to tell the truth to oneself.’
― Iris Murdoch
‘And there was this life-giving, very, very strong sustenance that people got from the neighborhood. One lives, really, not so much in your house as you do outside.’
― Toni Morrison
‘They slipped briskly into an intimacy from which they never recovered.’
― F. Scott Fitzgerald

The pandemic tore through economies, livelihoods, and lives. It also brought many communities together.

In some cities, neighbours spoke to each other for the first time. No longer were we able to travel, to go to our workplaces, schools and sites of learning. Instead, we helped collect groceries for those who had to isolate and discovered that we lived beside professors, artists, musicians, dentists, doctors, teachers, and gardeners. New communities were born, replete with messaging groups sharing the various local bulletins from the latest street party to the lost cat. Those we couldn’t reach in proximity became images on a screen, seemingly available to all.

We all crave connection. Bonds form through family, sports, arts, school, and literature, connecting through a common cause or common interest. In isolation, kinship may even come through celebrities and their seeming proximity or closeness. In this issue, we will explore all forms of intimacy however found, sustained, lost, and reclaimed between people, their surroundings, and the land.

For this call we will not accept queries or pitches, only completed works previously unpublished, with the exception of visual arts and book excerpt selections. Please see our FAQs and Submissions pages for more information, and for specific sections and submission length and information, read on below. All submissions should follow our Style Guide.

Decolonising travel: In this issue, we’re particularly interested in essays on finding intimacy and community in unexpected places. 1000-1500 words. Please send completed works to Decolonising Travel Editor Faith Adiele through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Intimacy/Decolonising Travel. Following Faith’s series of lectures and workshops in Morocco this summer, it would be splendid to see writing from Morocco, set in Morocco, and/or written by Moroccan authors.

General and speculative nonfiction: we seek all forms of nonfiction writing. For INTIMACY, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, and Tolu Daniel through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Intimacy/Nonfiction.

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50 word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Intimacy/New Nature Writing.

Travel flash: we also seek shorter works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Marie Baleo using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Intimacy/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Intimacy/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, or village. Travelling is more than visiting another place – it can happen anywhere, even close to home. We look forward to receiving essays that take familiar surroundings and everyday experiences, transforming them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Intimacy/Streetview.

Travel fiction: we seek works of fiction that reimagine intimacy. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. 1500-3000 words. Please send completed works to Fiction Editor Vimi Bajaj through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Intimacy/Travel Fiction.

Flash fiction: we also seek flash fiction works for the new Flash Fiction section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Marie Baleo using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Intimacy/Flash Fiction.

Poetry: we seek poetry with a strong intimate narrative. 1-2 pages. Please send completed works to Poetry Editors David Ishaya Osu and Devi Laskar through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Intimacy/Poetry.

Book reviews: we encourage reviews of all books that respond to intimacy literally or metaphorically. Reviews of recent titles by Annie Ernaux, Haruki Murakami, and Robin McLean are particularly encouraged, but we are also open to others. Homages and tributes may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your book reviews to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Intimacy/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and intimate theme, which we will reprint in the INTIMACY issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Intimacy/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue we are looking for many and varied responses to INTIMACY including but not limited to topographic works, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Intimacy/Photo Essay or Intimacy/Photo Interview.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows, and are particularly interested in essays on Isaac Julien (Tate Britain), Ajamu: The Patron Saint of Darkrooms (Autograph, London), and Chosen Memories (MoMa, NY), No Verbo do Silêncio a Síntese do Grito (CCBB, Brasília), and any others which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Intimacy/Exhibition reviews.

Read Issue 10: Intimacy.

Issue 9: Borders

July 2023 issue: Borders

Opens for submissions 1st May 2023 and closes for submissions 31st May 2023.

Border: /ˈbɔːdə/ origin: Late Middle English, from Old French bordeure; ultimately of Germanic origin. Noun 1. A line separating two countries, administrative divisions, or other areas. 2. A district near the border between two areas. 3. The edge or boundary of something, topic, or field. 4. A decorative strip around the edge of something. Verb. 1. To form an edge along or beside (something). 2. To provide (something) with a decorative edge. 3. To be adjacent to (another country or area). 4. Come close to or be developing into (an extreme condition).

‘It takes so little, so infinitely little, for someone to find himself on the other side of the border, where everything – love, convictions, faith, history – no longer has meaning. The whole mystery of human life resides on the fact that it is spent in the immediate proximity of, and even in direct contact with, that border, that it is separated from it not by kilometers but by barely a millimeter.’ ― Milan Kundera

‘Geographic shifts were mirrored and amplified into emotional, mental and even sexual ones. Each time I cross a border, I feel the push and pull in my body, a cacophony of competing desires.’ — Minal Hajratwala

Deserts and seas, marshlands and mountain ranges can be formidable borders to cross. So, too, are border officials, if they do not like your name, passport, paperwork, or a long-forgotten entry stamp to a red-listed country. Pass through, beyond the turnstiles and wired fences, however, and you will be greeted with a new panorama, new sites to visit, and perhaps even a new language to learn. To be beside (to border) and to be set apart, not quite known, grasped, is a tantalising prospect for the curious.

Borders can be trivial if traversed daily, but we don’t all have the permission or resources to pass through alike. Yet, for many, even the borders encountered frequently are not straightforward, and can be rather dangerous. The global majority have never flown. Borders extend to civic buildings and other public spaces where one feels welcome and wanted or unwelcome and unwanted. Yet, each time we cross new frontiers to new places, through the gilded gates of hallowed halls, through the draw bridges of fortress nations, stadia, schools, or colleges, there is hope for us all.

We grow up looking at maps and globes with borders, thinking this is how the world is ordered, but on the ground, borders are often invisible. Borders have oft been drawn up arbitrarily, and Mercator’s projection gives us a rather skewed view of the world. For this call, we seek stories of the real borders encountered in life, in artificial, human-made barriers, in fiefdoms, and in folly, as well as in stories of cross-border connections that have changed the world. We also ask for stories that tie the body to the border and vice versa, how crossing borders or learning of them changes us, or the way others perceive us .

Sections open to the public for the Borders issue:

Decolonising travel: In this issue, we are particularly interested in essays that focus on the connection between the body and the border. 1000-1500 words. Please send completed works to Decolonising Travel Editor Faith Adiele through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Borders/Decolonising Travel.

General and speculative nonfiction: we seek all forms of nonfiction writing. For BORDERS, we are particularly interested in the crossing-over that travel provides, whether in the aspect of the journey or the destination. Share your literal or metaphorical journey. 1500-6000 words. Please send completed works to Nonfiction Editors Sarge Lacuesta, and Tolu Daniel through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Borders/Nonfiction.

New nature writing is a genre-fluid form that encompasses memoir/travel/and nature writing with an especial foregrounding of the challenges of the Climate Crisis. It is a form that loves to transgress borders. We would be delighted to receive writing with an ethical dimension and ecological awareness that encourages the reader to mindfully negotiate the shared landscapes of the human and more-than-human. 1500-3000 words. Below your title include a 50 word ‘taster’ paragraph that captures the essence of the piece in italics. Think of this as the carny pitch to hook curious passersby. What will they experience inside? Please send completed works to the New Nature Writing Editor, Dr Kevan Manwaring through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Borders/New Nature Writing.

Travel flash: we also seek shorter works of travel memoir and nonfiction for the Travel Flash section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Marie Baleo using the Submittable Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Borders/Travel Flash.

Eaten: Eaten is Panorama’s take on blending gastronomy with travel. For this section, we are specifically looking for nonfiction pieces which explore a specific meal eaten while travelling, or a particular dish and its history as connected to travel. Personal narrative is encouraged and these are primarily experiential essays, although other approaches might be relevant in some works. We are especially interested in global and diverse perspectives for this section. Eaten requires self-awareness, a lack of exoticism, and an openness to sharing an experience, culture, or tradition, paired with travel. These in-depth glimpses inside place through food offer something fresh to our readers. In your Submission, please include the food you are writing about and be specific about the way it is associated to either your own travel or travel in a historical context. Word length is from 1500-3000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Borders/Eaten.

Streetview: we seek views from your own street, your neighbourhood, your town, or village. Travelling is more than visiting another place – it can happen anywhere, even close to home. We look forward to receiving essays that take familiar surroundings and everyday experiences, transforming them into something momentous, poignant, and universal. Pieces run from 1500 words to 2000 words. All submissions via Submittable. Clarifying questions can be sent to [email protected], title email: Borders/Streetview.

Travel fiction: we seek works of fiction that reimagine borders of the past, present, and future. Fictional works must include a journey to a place. Hybrid works (a blending of fiction and nonfiction) will be considered as well as experimental works. We are open to science fiction submissions for this issue as well as earth-land sea-air fantastical journeys of any kind, as long as they are travelogue style and modelled on traditional journeys. 1500-3000 words. Please send completed works to Fiction Editor Vimi Bajaj through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], and title email Borders/Travel Fiction.

Flash fiction: we also seek flash fiction works for the new Flash Fiction section. Pieces must be between 150 and 300 words, after edits, and no longer than 350 words before edits. Preference will be given to those pieces that present a strong sense of detail and place and a fleshed-out narrative. Submit your work to Flash Editor Marie Baleo using the Submittable Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected] with the title Borders/Travel Flash.

Poetry: we seek poetry with a strong border narrative. 1-2 pages. Please send completed works to Poetry Editors David Ishaya Osu and Devi Laskar through Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email Borders/Poetry.

Book reviews: we encourage reviews of all books that respond to borders literally or metaphorically. Reviews of recent titles by Annie Ernaux, Haruki Murakami, and Robin McLean are particularly encouraged, but we are also open to others, including Walter Scott’s Ivanhoe/Count Robert of Paris, Graham Swift’s Waterland, Virginia Woolf, and Ben Okri. Homages may be considered, if they convey the spirit of the manuscript they refer to. Poetry collection reviews are also welcome. Please submit your material to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to your review in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Borders/Book Review.

Book excerpts: we seek an excerpt from a book with a strong travelogue and borders theme, which we will reprint in the BORDERS issue, max. 12 pages. We prefer material from an upcoming or recently published title, though older material will also be considered if it responds particularly well to the theme. Please submit your book excerpts to Book Editor Nicolas Sampson via Submittable. Include a short bio and introduction to the excerpt in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title the email: Borders/Book Excerpt.

Photography: each issue, we publish two photo essays, one with accompanying text and one with an interview with the photographer. In this issue we are looking for many and varied responses to BORDERS including but not limited to topographic works, and photojournalism. Please see past issues to get a sense of the images and direction, and send ten sample images or full photo essay—previously published or not—your portfolio website, an introduction to the work you have selected, and its connection to travel and the issue theme to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Borders/Photo Essay or Borders/Photo Interview.

Exhibition reviews: have you visited an exhibition recently which has prompted ideas, thoughts, and different ways of seeing? We would love to receive personal responses to exhibitions, group or solo shows, and are particularly interested in essays on Isaac Julien (Tate Britain), Ajamu: The Patron Saint of Darkrooms (Autograph, London), and Chosen Memories (MoMa, NY), No Verbo do Silêncio a Síntese do Grito (CCBB, Brasília), and any others which have inspired or challenged you. All submissions to Panorama’s Director, Matthew Webb using Submittable. Include a short bio and introduction to your work in your cover letter or submission document(s). Clarifying questions can be sent to [email protected], title email: Borders/Exhibition reviews.

Read Issue 9: Borders

Issue 8: Space

Read Issue 8: Space

Issue 7: Dawn

Read Issue 7: Dawn