New Words #20: Three Thousand Lit Mags and Counting

How do you decide what to read and where to submit?

It’s no secret that writers seeking to place their work in literary magazines face long odds, with acceptance rates at many publications hovering in the low single digits. Submitting work used to mean typing or printing out multiple copies of a piece and mailing them with a stamped, self-addressed envelope, but given the relative ease and (usually) low cost of submitting electronically, lit mags have found themselves inundated with submissions in recent years. Rejection is such an intrinsic part of the process that it was the subject of my first newsletter.

But what about the other side of the coin? With literally thousands of publications seeking short fiction, creative nonfiction, and poetry in English, how do writers (translators included) tell which publications are most likely to be a good fit for their work?

We might start by prioritizing literary magazines that meet certain criteria: those that pay their contributors or offer free submissions, for example. Or we might have strong feelings about publishing in print magazines, which are often considered more prestigious and definitely look nice on a bookshelf, vs. in online-only magazines, which can make our work accessible to a wider audience. (Personally, I like to aim for a mixture of the two. Moderation in all things!)

Alexis, a connoisseur of fine smells and textures, has a clear preference for print magazines.

Even a writer who applies a few of those criteria will be left with several hundred publications to consider. Realistically, no one has the time (or money) to read full issues of hundreds of magazines before deciding where to subscribe or submit work. We need to look elsewhere for guidance about which lit mags are worth prioritizing.

One starting point might be lit mag rankings compiled by writers (including Erika Krouse, Brecht de Poortere, and Clifford Garstang), based primarily on the number of pieces originally published in each magazine that have gone on to win awards or appear in anthologies. These rankings offer a valuable overview of the most prestigious journals, but because they are based on several years’ worth of awards, newer publications are at an obvious disadvantage, as are those that favor genres and themes unlikely to be picked up for inclusion in anthologies such as The Best American Short Stories.

In an effort to highlight some of the newer, smaller, or more niche markets that writers love but that don’t (yet) appear in those rankings, Chill Subs recently invited users to nominate lit mags “for their dedicated editors, inclusive communities, innovative styles, and bomb-as-hell vibes.” The resulting top-25 list includes a mix of new and established, print and online publications.

For me, this list provides an extra nudge to take a close look at some publications that I’ve seen mentioned on social media by writers whose work I admire. That word-of-mouth advertising—writers talking about the magazines they are happy to read, submit to, and publish in—might be the best way to sort through the thousands of options and find the ones we’ll love.

Self-Promotion Corner

You know that part about a mixture of print and digital publications being ideal? Well, I’ve recently mentioned several pieces that I’m proud to have available for online reading, and this time I’d like to mention a few stories I’m delighted to see appear in print magazines I admire. My translations of stories by French author Monique Debruxelles appear in the latest issue of Southword and in the upcoming Winter/Spring issue of Gulf Coast. I’m also looking forward to the first print publication of my own fiction, coming next month in Stanchion—which happens to have cracked the top five in that Chill Subs list of writers’ favorite markets!

A Humble Suggestion

In each newsletter, I offer at least one recommendation for your reading, watching, or listening pleasure.

I’ve been catching up on (HBO) Max’s delightful series Julia, based on Julia Child’s rise to fame in the 1960s. While the series explores the racism and sexism faced by the women who championed her work in the publishing industry and public television, its overall tone captures the blend of warmth, sincerity, and silliness that characterized its subject.

Late in the first season, when Julia is inclined to quit making The French Chef after receiving harsh criticism from someone she respected, she receives some advice that I’m sharing here because it’s as good an attitude as any for creative folks to carry into a new year: “This show is not for them. This show is for us and the people who make it and the people who watch it—more than we ever imagined, but not the whole world. Why should we give anyone the power to take it away from them? If every critic could silence every artist, how dull would the world be then?”

Here, Look at My Cats

The world is a mess, and you might welcome a pleasant distraction. For what it’s worth, here are my cats.

It’s snuggling weather, and even in his sleep, David likes to extend a protective paw over both his gals.

All my best wishes for a holiday season that is as joyous and/or restful as you desire! See you back here in January.

Laura