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Submission Preparation Checklist

As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.
  • The submission has not been previously published, nor is it before another journal for consideration (or an explanation has been provided in Comments to the Editor).
  • The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines.
  • All figures are indicated in the article body with a figure number and caption. All multimedia is attached in the submission named with the author's last name and figure number, ex: Name_Fig1.jpg

Author Guidelines

1. Multimedia: As a digital publication, B&L encourages authors to utilize multimedia (images, sound clips, video) in their essays. Please indicate within the text where figures appear by numbering and including a caption. Attach all multimedia in your submission. Name your files with your last name and the figure number: AuthorLast_Fig#. 
2. Sub-headings: We ask our readers to include subheadings about every five pages for optimal online reading. 
3. Short paragraphs: We encourage authors to break up long paragraphs. Escshew the single-sentence journalistic paragraph, however. 3-5 sentence paragraphs work well on screen. Writers may break up longer paragraphs with images, sound clips, or other multimedia. Avoid beginning a new paragraph after a block (indented) quotation.
4. Minimize discursive notes. Please try to integrate your argument into the main body of your paper rather than keeping substantive matter in the notes. 
5. Shorten your sentences. On-screen readers lose themselves in lengthy sentences. We recommend you ensure no single sentence runs over more than five lines (excluding block quotations).

1. Style:  B&L uses The Chicago Manual of Style 17th edition, with a preference for parenthetical citations using the author-date -page number system. We use US Edited Standard Written English (ESWE).
2. Citations: We prefer, where possible, parenthetical citations using the author-date-page number system, e.g., Fineman, taking a world-historical point of view, hypothesizes that "Shakespeare marks the beginning of the modernist self and Freud . . . its end, the two of them together thus bracketing an epoch of subjectivity" (Fineman 1986, 47); but Sinfield largely avoids the issue, asserting a "sufficient continuity" between these understandings (Sinfield 1992, 60), while insisting that what has been the problem all along is, not selfhood, but essentialist humanism, the way in which we interpret selfhood. Please reserve endnotes for substantive explanatory comments. We prefer endnotes created through a word processor's endnote function, but can also work with endnotes collected in a separate document. For two authors with the same surname, include first initial in parenthetical citations. For two or more works by a single author, include author, date and page number: e.g., (Sinfield 1985, 72). For two or more works by a single author published in the same year, allot a letter to each work published in the same year, in alphabetical order: e.g., (Nisenson 2000a, 202).
3. Quotations: For poetry of three or more lines and prose quotations of four or more lines, use indented block quotations. We prefer quotations from Shakespeare to come from the Folger Shakespeare Texts online, but respect individual authorial preferences within certain limits. Editions used must be considered reliable by scholarly concensus and should be in print.
4. Languages: While you may use some foreign words or phrases indicated in italics, the article text should be entirely in English. If your text includes quotations in a language other than English, use authoritative translations (or your own), followed by English translation in parentheses. Identify translators in the notes. The titles of books and articles in languages other than English should be followed immediately by their English translations in parentheses. Adhere strictly to the conventions of any foreign language you use; we depend on you for accuracy. Please use American rather than British spelling, except in quotations.

Font: Use Times Roman 12 (non-proportional) font.
Margins: Set margins to at least 1 inch all around.
Line Spacing:
Double space (2 line spaces) entire manuscript, including notes and block quotations.
Page Numbers:
Make sure all pages are numbered. Otherwise, use no running head.


5000-6000 words (including notes)

Double-anonymous peer-reviewed articles that analyze appropriation as a process of collaboration with Shakespeare, and to that end seek work that either demonstrates something new both about Shakespeare and about the field of appropriation or that works with Shakespeare to extend theories of adaptation and appropriation. 

Editors will send submissions to reviewers with expertise in both fields of inquiry, for example, to a Shakespearean and a Film Studies scholar; to a Shakespearean and to an Architectural Historian; to a Shakespearean and a Early Americanist; as appropriate.

Appropriations in Performance

1500-2000 words (including notes)

Thesis-driven essays on a specific performed Shakespeare appropriation. Appropriations may include live theater, dance, or musical performances. Articles in this section are reviewed by the section editor and an outside reviewer when appropriate.

Digital Appropriations

1500-2000 words (including notes)

Thesis-driven essays on a digital Shakespeare appropriation. Appropriations may include websites, video games, or social media accounts. Articles in this section are reviewed by the section editor and an outside reviewer when appropriate.

Book Reviews

700-1000 words (including notes)

Book reviews are reviewed by the section editor.


1500-2000 words (including notes)

Short, thesis-driven essays interested in Shakespeare ephemera, the everyday, lost or forgotten Shakespeare appropriations. Notes are reviewed by the section editor or an outside reviewer when appropriate. 

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