How we got started:

Madville Publishing came into being as its director, Kimberly Davis, transitioned away from her work with Texas Review Press, where she was first Assistant to the Director, then maintained operations for two years following founder, Paul Ruffin’s death.  While at Texas Review Press, Davis formed many rich relationships within the literary community as she developed her understanding of and love for the business of publishing. Madville Publishing grew out of her desire to continue her work publishing literary poetry, fiction, and nonfiction.

As of April 2019, Madville has become a nonprofit corporation.

Mission Statement:

Madville’s mission is to present language in a playful, imaginative way and to encourage a love of the written word—regionalisms and all. English is our first language, but we adore code switching and idioms from around the world. We publish poetry, fiction, and nonfiction that straddles borders. While our authors generally hail from the English-speaking academic community, our audience extends beyond the narrow confines of the academy into the popular market, particularly with regard to our fiction, where we have a tendency to stray into adventurous, fantastic, and dystopian realities.

Madville Publishing Logo
Note: we’ve dropped the LLC because we’re now nonprofit!

We attend various writers conferences. You’ll find us on panels and in the book fairs. Come say hello and tell us what you’re working on!

Submissions Guidelines:

Please bear with us. We will be moving our entire submission process to Submittable in the coming weeks. Please don’t send us any queries at present.
All manuscripts published by Madville Publishing undergo a rigorous vetting process before they are accepted for publication. While we do not accept unsolicited manuscripts, we do accept queries by email and request manuscripts from those authors whose work fits our catalog. We send promising manuscripts out for review to published authors and professional editors who write reviewers’ reports detailing the works’ strengths and weaknesses before we decide whether or not to offer an author a contract.