Seeking Submissions for How to Win at Ultravision: A Strategy Guide for Video Games That Don’t Exist

by Bradley Sands

Bradley Sands will be editing a multi-author anthology called How to Win at Ultravision: A Strategy Guide for Video Games That Don’t Exist. Eraserhead Press will be publishing it. The book is inspired by Jeff Rovin’s How to Win at Nintendo Games and Jorge Luis Borges’ reviews of books that don’t exist.

Submissions are now open. He is looking for mini-strategy guides for games of your own invention. They must be in the range of 1000 words to 5000 words long. Text only. Payment is $10 and a contributor’s copy.

Email submissions to bradleysands@gmail.com.

Here are some links to examples:
A page from How to Win at Nintendo Games
From The Ultimate Game Guide to Life
A piece written by Albie about a game that doesn’t exist (I recommend cutting and pasting it into a MS Word document because it’s otherwise a bit difficult to read)

Here is part of Bradley’s pitch for the book. Perhaps it will inspire some of you:

I’m extremely fond of fiction when they’re told in different forms. The earliest example that I can think of is Jorge Luis Borges reviewing books that didn’t exist. This gave him the opportunity to write about a book that he was passionate about without having to devote months or perhaps years to writing them. He was also a prankster, so he would publish the reviews and pretend that the books existed.

A more recent example of telling a story in a different form is in Stephen Graham Jones’ Demon Theory and The Last Final Girl, where Stephen tells stories in the form of screenplays even though they’re intended to be read as novels.

I’ve also done this sort of thing myself. I wrote a story that’s a screenplay for a Rico Slade movie (inspired by my novella) and a story told in the format of a comic script about two giant monsters who are having a tiff about their relationship (while they are destroying the city). In each case, the script’s fictional author is the main character rather than any of the characters that they are “writing” about.

If someone were to actually make a movie using my Rico Slade screenplay, it would be awful. I feel as if telling stories in different forms like this works best when the “fictional” intended product would be a complete failure if it were actually made according to the script without any alterations.

The thing that excites me the most about stories told in different forms is reading a story that has never been told this way before. It’s new and unique even when it’s based on a preexisting form. I see it as continuing the legacy of Borges in the modern era.