The way people read has changed. Static pages and plain eBooks still have their place, but a growing share of readers now want stories they can touch, choose, and shape. That appetite has turned interactive publishing into one of the liveliest corners of the book world, and it has opened real doors for writers who are willing to think past the linear manuscript. If you have been searching for interactive publishers accepting submissions, this guide walks you through the companies and competitions that genuinely take new work, what each one wants, and how to prepare a pitch that gets read rather than deleted.<\/p>\n
Interactive publishing covers a wide spread of formats. It includes choose your own adventure and branching narratives, gamebooks with dice and stats, choice based mobile fiction, augmented reality picture books, multimedia eBooks with embedded audio and animation, and interactive textbooks built for the classroom. The common thread is participation. The reader is not a passive audience, they are a decision maker, and publishers in this space look for writers who understand that shift.<\/p>\n
A few forces have pushed interactive storytelling from novelty to serious category:<\/p>\n
For writers, that momentum means more paying markets and more publishers willing to gamble on a fresh voice. The catch is that these companies each serve a specific niche, so matching your project to the right list matters more than blasting the same pitch everywhere.<\/p>\n
Requirements differ from one publisher to the next, but most weigh submissions against a similar set of questions:<\/p>\n
Some houses accept a plain manuscript and handle the technical build themselves. Others expect at least a rough interactive prototype or a mapped set of choice branches. Read each submission page closely, because sending the wrong file type is the fastest way to a rejection.<\/p>\n
Below is a practical list of established interactive publishers and competitions that take new work. We have focused on real, verifiable markets rather than vague promises, and we have noted what each one is actually looking for.<\/p>\n
Western Reflections Publishing works with authors who have a strong story but need help shaping it into a polished, market ready product. While we are best known for ghostwriting, editing, and book promotion, our team regularly supports creators who want to move traditional manuscripts toward richer digital formats, including enhanced and multimedia eBooks. If you have a great idea for an interactive title but feel stuck on structure, scripting the branches, or preparing files for distribution, our book publishing services<\/a> can carry the heavy lifting.<\/p>\n We are especially useful for authors who are confident on the page but new to interactivity. That might mean tightening a branching plot so every choice feels meaningful, developing a children’s story that will later carry audio and animation, or preparing a manuscript for professional formatting. Explore our children’s book writing services<\/a> if your project leans toward young readers, or our professional book editing services<\/a> to get the underlying prose ready before any interactive layer goes on top.<\/p>\n Choice of Games is one of the best known homes for text based interactive novels. The company builds long, choice driven stories using its own ChoiceScript language, and it actively recruits writers. The professional Choice of Games label pays authors to develop full titles, while the Hosted Games label lets independent writers publish their own ChoiceScript stories and earn royalties. If you want to see exactly what the team expects, their writers guidelines and application details<\/a> spell out the process, which usually starts with a short CV and a writing sample.<\/p>\n Best for: writers who love branching, stats driven fiction and are comfortable learning a simple scripting language.<\/p>\n Chooseco owns and publishes the classic Choose Your Own Adventure series, which introduced a generation to second person branching stories. The house focuses on children’s and middle grade interactive fiction, and it occasionally reaches into wider age ranges. Chooseco is selective and its catalog carries a strong brand identity, so study existing titles before you pitch anything.<\/p>\n Best for: authors of playful, second person adventures aimed at young readers.<\/p>\n Chronicle Books is known for inventive, format driven publishing that stretches well beyond ordinary novels. Its list includes interactive journals, activity decks, games, and highly designed books that invite the reader to do something. If that visual, object first end of the market appeals to you, our roundup of art book publishers accepting submissions<\/a> is a useful companion. Chronicle accepts unagented submissions for projects that fit its aesthetic, and its submission guidelines page<\/a> lays out how to send a proposal.<\/p>\n Best for: creators with visually rich, hands on concepts that blur the line between book and object.<\/p>\n Tin Man Games specializes in digital gamebooks and interactive fiction apps, often with dice mechanics, inventory, and combat woven into the story. The studio has published both original worlds and licensed adventures, and it works with writers who understand how game systems and narrative fit together.<\/p>\n Best for: writers who enjoy blending role playing mechanics with strong storytelling.<\/p>\n Usborne has a long history of puzzle books, lift the flap titles, and branching adventure formats for children. If your concept sits in that world, our guide to children’s picture book publishers<\/a> lists more houses worth approaching. The company is highly regarded and fairly selective, but it consistently experiments with formats that pull young readers into active participation, which makes it a natural target for interactive children’s concepts.<\/p>\n Best for: children’s authors with puzzle driven or participatory ideas.<\/p>\n IFComp is not a publisher, but it is one of the most important launchpads in the field. Every year this long running competition invites writers to submit parser based, choice based, or hypertext interactive fiction, and winning or placing well can put your name in front of studios, players, and future collaborators. You can review the rules and entry windows on the official IFComp website<\/a>, including its current guidance on the limited use of generative tools.<\/p>\n Best for: writers who want visibility, feedback, and a portfolio credit in the interactive fiction community.<\/p>\n Larger children’s houses have leaned into interactivity as well. Scholastic has embraced innovative storytelling formats with strong classroom appeal, and Little Simon, an imprint of Simon and Schuster, publishes novelty and interactive picture books. These imprints usually work through agents, so if you would rather skip that step our guide to publishers that accept submissions without an agent<\/a> is worth a look, and they remain worth knowing for authors building a long term career in children’s interactive titles.<\/p>\n Best for: children’s authors aiming at mainstream retail and school markets, often with agent representation.<\/p>\n Interactive publishers expect more thought than a straight manuscript pitch. A few steps will set your submission apart.<\/p>\n Spell out exactly how the reader participates. Are there branching choices, and if so, how many major paths? Is there audio, animation, gamification, or augmented reality? A one paragraph explanation of the reader experience is often more persuasive than the story summary itself.<\/p>\n You do not need a finished app. A simple branch map, a flowchart of choices, or a clickable PDF mockup shows the publisher that your idea holds together. For branching fiction, a chart of how paths split and rejoin proves you have thought about structure and length.<\/p>\n Name the reader clearly. Who are they, why will they keep tapping, and what makes your concept different from what is already on the shelf or in the app store. Publishers back projects with a defined market, so a sharp audience statement carries real weight.<\/p>\n You are not required to be a developer, but knowing whether your project fits a mobile app, an EPUB3 fixed layout file, a web experience, or an augmented reality overlay signals professionalism. It also helps the publisher picture the build and the budget.<\/p>\n Technology enhances a story, it does not rescue a weak one. Tighten your writing before you add any interactive layer. Clean, confident prose is still the foundation, and it is the first thing an acquisitions editor judges.<\/p>\n The category keeps moving, and knowing where it is headed helps you pitch something fresh. Current trends include personalized story paths that adapt to reader choices, voice controlled and audio first interactive books, augmented reality features in children’s and educational titles, subscription based serialized fiction delivered in episodes, and tighter integration with learning management systems in schools. Hybrid projects that fuse storytelling, light gameplay, and education are drawing particular interest, because they serve both entertainment and classroom markets at once.<\/p>\n Plenty of promising submissions fail for avoidable reasons. Watch for these:<\/p>\n Do your homework on each market, follow the submission instructions to the letter, and lead with a story that would be worth reading even without the bells and whistles.<\/p>\n Getting accepted is only the first milestone. Interactive titles live or die on discovery, so plan for promotion early. A branching novel or enhanced eBook needs a clear listing, sharp keywords, and a marketing push that explains why the interactive angle is worth a reader’s time. Our eBook marketing services<\/a> help authors build that visibility, from launch strategy to ongoing promotion, so a strong story does not sit unseen.<\/p>\n2. Choice of Games and Hosted Games<\/h3>\n
3. Chooseco (Choose Your Own Adventure)<\/h3>\n
4. Chronicle Books<\/h3>\n
5. Tin Man Games<\/h3>\n
6. Usborne Publishing<\/h3>\n
7. The Interactive Fiction Competition (IFComp)<\/h3>\n
8. Scholastic and Little Simon<\/h3>\n
How to Prepare a Strong Interactive Submission<\/h2>\n
Develop a clear interactive concept<\/h3>\n
Map or prototype the interactivity<\/h3>\n
Show you understand the audience<\/h3>\n
Demonstrate technical awareness<\/h3>\n
Polish the prose first<\/h3>\n
Trends Shaping Interactive Publishing<\/h2>\n
Common Mistakes to Avoid<\/h2>\n
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Turning Your Interactive Book Into a Success<\/h2>\n
Frequently Asked Questions<\/h2>\n