Archives For Publishing

Canadian literary magazine PRISM international aims to publish the best contemporary fiction, creative non-fiction, translation, drama, and poetry from around the world. While its pages have featured such luminaries as Margaret Atwood, Jorge Luis Borges, Raymond Carver, and Seamus Heaney, most of the work it publishes is unsolicited, and many writers whose first publication appeared in PRISM international have gone on to critical acclaim. PRISM’s Prose Editor Christopher Evans discusses what he’s learned about editing a literary magazine, from a writer’s POV.

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Submit with abandon? Send out a story that’s already received 20 rejections? Keep going? Call it quits? Should you send an edited piece to a magazine that passed on an older draft? Kim Winternheimer, founding editor of The Masters Review, talks submission strategies.

Submission strategies are a tricky thing. Every emerging writer I know discusses submission failures and victories, and it’s a topic that pops up in conference panels and workshop often.

Writers talk about submitting because the process itself is the road to publication. Because success in selling stories rests entirely on that effort. Writers lament and analyze the form rejection they receive after eight long months, and applaud the personalized request for more work. Writers talk about the process because they want to see how others are navigating the labyrinth, and, because silently they wonder: am I tackling submissions the right way?

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The Times / Chicken House Children’s Fiction Competition is now open for entries. The winning writer will receive a worldwide publishing contract with Chicken House with a royalty advance of £10,000 (US$12,000), plus representation from a top children’s literary agent.

The Times / Chicken House Children’s Fiction Competition began in 2007 and has launched the careers of a number of new authors. In 2015 the prize was won by Nicki Thornton for her book The Firefly Cage.  

To enter this competition you must have written a completed full-length novel suitable for children aged somewhere between 7 and 18 years. By full-length the organisers suggest a minimum of 30,000 words and ask that manuscripts do not exceed 80,000 words in length.

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After a six-month hiatus Granta, one of the world’s most prestigious literary magazines, is again accepting unsolicited submissions.

Granta’s history can be traced back to 1889 when a student politics and literature magazine called The Granta was founded at Cambridge University. Since its relaunch 36 years ago, Granta has been a quarterly literary journal, with the aim of publishing the best new writing.

Granta publishes fiction, non-fiction and poetry and each now has their own submissions window.

Poetry will be considered from now until 3 November.

Fiction submissions open on 16 January and close on 15 February.

Non-fiction submissions open on 24 April and close on 24 May.

There are no strict word limits, though most prose submissions are between 3000 and 6000 words and the editors advise they are unlikely to read more than 10,000 words of any submission.

Alongside the print edition, the online new writing program publishes stories, poems, essays, interviews, animations and more from established Granta alumni as well as new voices. Continue Reading…

Tin House is Accepting Unsolicted Submissions for 2017

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“Tin House is an invaluable repository of fine American writing and American fiction, presented in a crisp and entertaining visual format.”
– Stephen King

The first issue of literary magazine Tin House was published in 1999. Based in Portland, Oregon, Tin House publishes fiction, essays, and poetry, and its contributors have frequently been recognised by major American literary awards and anthologies including the Best American Short Stories and the O. Henry Prize.

Throughout September Tin House will be accepting submissions for its first three issues of 2017:

  • Spring – Theme: Rehab, to be published 1 March 2017
  • Summer – Open, non-themed, to be published 1 June 2017
  • Fall – Theme: True Crime, to be published 1 September 2017

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Literary Magazines for New and Unpublished Writers 2016

Our previous lists of magazines that welcome submissions from new and previously unpublished writers (see here and here) have both received a huge amount of positive feedback. So, by popular demand, here are 15 more literary magazines that are happy to hear from writers who may not had their work published before.

Before you rush to start sending your latest story to every magazine on the list, Eva Langston from Carve Magazine has some excellent advice to help you avoid the mistakes writers most commonly make when submitting their work for publication. Also check out this step-by-step guide to submitting your work from the editorial team at Neon.

1. The City Quill
is a new literary magazine exclusively for previously unpublished writers (they won’t hold school newspapers or personal blogs against you but you shouldn’t submit your work to The City Quill if you ever had a journal, anthology or magazine). Fiction writers may submit up to two stories of 2500 words each, and non-fiction and poetry are also accepted. You don’t need to pay a submission fee but, for a small charge, you can have your work read and critiqued by a City Quill editor within two weeks.

2. Spry
is a literary journal that features undiscovered writers, as well as the work of more established voices. The editors, two recent graduates of the MFA program at Fairfield University, seek work that is concise, experimental, hybrid, or flashy and all submissions are read blind. Submissions for issue eight are currently open.
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Why Your Rejection Letter Means Nothing

Dan Burgess, editor-in-chief of literary magazine Firewords, shares an editor’s perspective on the loathed but unavoidable reality of rejection letters.

At a recent book fair, we were talking to several writers about their experiences of submitting to literary journals. It was surprising to hear that they had all given up trying after receiving rejections.

We were aghast and quickly reassured them that they shouldn’t take rejections personally. We know (first hand!) that rejections are hard to take, which is why we try to give personal feedback to every single submission we receive, even though it makes our job infinitely harder (we’ll go into our reasons for giving feedback in a later blog).

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