We charge entry fees because when we didn’t charge entry fees at all, even when the prizes were of the same value (£50 or £100 in years previous), we received far fewer entries (30 total entries when free-for-all compared with 100 when paid with free entry options). After a certain number of rounds, it wasn’t worth the prize pot to judge so few entries. The reason we host competitions to begin with is because competitions are an entry point, especially for new and emerging writers, and a progress point for everyone else. There are a lot of writers whose first active interaction with the writing industry has been submitting work to competitions. It’s a door we want to keep open. Our own experience in this space has shown us that writers take paid entry competitions more seriously.
As far as a lottery or gambling goes, it’s capitalism, really, albeit an incredibly truncated model. If a commercial publisher accepts competition entries or submissions for free (through an agent or otherwise), it’s because they’re already resourced enough through big fundings or a large volume of “profitable” sales elsewhere, sometimes at the expense of or through the exploitation of someone or something somewhere down the line. We try to be really thoughtful about how and from whom we take money, but we don’t have qualms about selling to people who can afford to pay. Exchange is the ultimate purpose of money, really, whether for goods, services or time. It pays to be conscious of what value/expense is attached to every exchange, and if it’s worth it to you.
We think writing competitions, above all, facilitate writing. They are an opportunity for writers to produce work they might not otherwise have created, and to take finishing that work seriously. Entry fees pay for the recognition of that work.
Broadly speaking, publishing is a part of the attention economy, and in many ways that means for publishers to be successful, they have to operate in a way that services this need for attention. It’s our role as a publisher to figure out how that is executed, and what value is attached when attention is purchased. We try hard to maximise the value to everyone involved.
And, bluntly, if our fees exceed our costs, it will be a source of income for Lucent Dreaming to do other work, such as publish writers in its magazine and in books. The entrant’s desire for accountability, status, prize-money and all else the competition represents to them is no bad thing, and helps to fuel our work. If other competitions can be dubious and/or exploitative with their entry fees, maybe we can take over at least some of the writing competition world to help redirect fees towards building structures that do more to help writers of all backgrounds progress in their craft, rather than replicating the same problems year after year. We are working to facilitate change and to make traditional publishing better by example.