Mapping the imaginary has always been a challenge for world-building and storytelling alike. Map of the fictional world subverts the very essence of an actual cartography: it represents a territory that cannot be discovered or traversed in a non-fictional realm and yet it delivers much more than a usual map: a promise of the journey into unknown. An exquisitely quotable phrase coined by J. R. R. Tolkien, who claimed to “start writing with a map and [then] make the story fit” is only reprising what have always been evident to cartographers and creators of imaginary worlds: maps precede territories and are inevitably becoming the most essen¬tial part of modern and postmodern storyworlds. Ambrosius Holbein’s wood-cut in the first edition of Thomas More’s Utopia, collectors editions map in video games, atlases of fictional universes, animated map routes in online reportages, or even interactive maps outlining the worlds of blockbuster TV shows—these are all indications of a significant shift in contemporary storytelling that looks for creating many and more access points to the fictional storyworld. Hence confer-ence atten­dees will be asked to submit abstracts of presentations or posters' de-scriptions revolving around:
•    fictional topography and geopotics;
•    map theory & theorists;
•    the dichotomy of a map and a territory;
•    ways of mapping the imaginary;
•    fictional cartography (maps, atlases, mini-maps, plans, charts, etc.)
•    maps of secondary, imaginary, fictional, possible or impossible worlds;
•    relationship between world-building and map-making;
•    function of maps: between navigating and augmenting the world;
•    navigating the actual and the imaginary: Tim Ingold’s trail-following and wayfaring;
•    case studies in literature;
•    case studies in video games;
•    case studies in movies and TV shows;
•    case studies in comic books, graphic novels and other media;
•    case studies in transmedia storytelling and transmedial franchi¬ses;
•    case studies in fictional worlds;