After Duotrope, I have found this to be the best resource for new calls for submission. The Creative Writers Opportunities List (or CWROPPS) is a 13,000 + Yahoo Group moderated by poet and editor Allison Joseph. The group was created in 2005, though I have not been a member quite that long.
A new list is emailed to subscribers daily unless the moderator is on hiatus (which happens to be the case this week). Since this is a “list,” you cannot run a search. The list contains calls for submissions, contests, writing residencies, and creative writing job opportunities for poetry, fiction, and creative non-fiction. A brief description of each item, which is provided by the person who submitted the item, is included. Web sites for further information for each listing are also provided.
If you like culling information from a paragraph of text rather than a format such as Duotrope uses, CWROPPS will appeal to you.
You may subscribe to the list by emailing: email@example.com.
When I began Poetic Effect 10 years ago, I did so with the expectation of learning all that I could about the world of publishing poetry. In 2006, the main resource I used was the soft cover book Poet’s Market. I spent seemingly endless hours combing through listings, attempting to verify the accuracy of the information provided in its pages via the Internet (when possible; many publications did not yet have a presence on the Web) and other paper resources. Usually, the information was correct. Often, however, it was outdated or there were discrepancies since much could change between the time when editors would submit information for inclusion and the book landed on store shelves.
One of the online resources I have found to be top notch is Duotrope (https://duotrope.com/). Duotrope began in 2005 as an entirely free service to the public, providing a vast database of publishing information for both poetry and prose (and now a visual art category). A few years back Duotrope began charging an annual fee for unlimited access to all that it provides which includes a submission tracker for your own submissions, regardless of what manner one uses to submit (email, Submittable, etc.).
You may still reap a free benefit from Duotrope, however. By subscribing to the weekly newsletter, Duotrope will email to you lists of literary journals and publishers of books and chapbooks that have just opened (or closed) to submissions, listings new to their database, a list of defunct publications and a list of themed submission deadlines. You won’t be able to run a search without subscribing. The search function for poetry is not quite as specific as it is for fiction. This is the only minor shortcoming I have found for Duotrope in poetry.
On the few occasions when I have uncovered more recent information for a listing than Duotrope has had, I have contacted them and received a quick response expressing their thanks and their willingness to obtain the correct information.
While I do not use Duotrope’s submission tracker for myself or my clients since I have my own database template, I have found Duotrope to be well worth the $50 annual fee and I believe the newsletter to be the best free resource available. It is my hope that you will explore Duotrope to see how it may benefit you.
I have three new poems online at Bitterzoet:
If you happen to be in Western New York, I will be reading with poet Linda Allardt at the Genesee Reading Series Tuesday, August 9, 2016. The reading will be held at Writers & Books, 740 University Ave., Rochester, NY. While the reading starts at 7:30 pm, the audience is encouraged to arrive early for refreshments and conversation. The reading is $3.00 for members, $6.00 for non-members. Books will be available for sale. I hope to see you there!
Thanks to the editors at Sweet Tree Review for including my poem in the latest issue. http://www.sweettreereview.com/scent-claudia-stanek
Before you read the next post in this series, I need to clarify that these “picks” and the posts from Michael Meyerhofer, Donna Marbach, and today’s editor Tom Holmes, are entirely in their words and not mine. I may agree with some, all or most of the opinions expressed here but I have not officially weighed in on the subject yet. On to Tom Holmes:
There are so many great journals out there, so some of my answers will look instead at the design and layout of each journal, because I want my work to be in a good looking journal. Of course, each of the below journals (in no order) publishes very fine work.
- Passages North. An oversized 10″x7″ journal with terrific covers that seduce me. Their poetry fits somewhere between accessible and heady. It challenges me, but doesn’t exhaust me.
- Istanbul Review. Terrific layout. Each author gets a page for a bio that precedes their work. They have color artwork. And there are black tabs indicating genre and author’s name. They aren’t afraid to publish other languages with their own alphabets, like Bengali, or afraid to print pieces that swirl on the page. It’s a delight to thumb through or read cover to cover.
- Sheepshead Review. The issue I’m looking at is Volume 37, Number 2. The 6.5″x8.5″ pages have black borders. It frames the poetry and prose like they are artwork. And the titles are in red. It’s so nice to see color in a journal, which is an expensive endeavor. Plus, there are full black pages with color artwork. Moving through the pages, the eye is stimulated.
- Rock & Sling. If you want a good course in layout and design, check out this journal out of Whitworth University. They have a good proportion of margin space, exacting leading in the text, and they like to explore their typefaces. It’s a journal of witness, so the poems have a religious-leaning, but they aren’t afraid to publish work from atheists. They truly explore faith from all angles.
- Atticus Review. This is one of my favorite online journals. I’m biased towards print journals, but what I like about Atticus Review is not only the wide variety of work, but how they have a featured poet every month or so, which includes a handful of poems from the poet plus an interview. I love when poets talk about their poetry, so I especially appreciate this.
- The Cincinnati Review. Editor Don Bogen knows how to find great writing, as The Cincinnati Review’s work often appears in Pushcart. If you want a journal that consistently publishes a wide range of styles and fine work, check out this journal.
- Rattle. The poems here are grounded and challenging. Plus, they and editor Timothy Green are fully engaged in bringing poetry to the masses. Check out their website, too.
- Miramar. I’m looking at Number 3 from 2015. Man, it’s like an anthology with 188 pages and 86 authors. How do they fit so many well-known poets beside so many up-and-coming poets, I don’t know, but it’s something you can enjoy for a long reading session.
- Iowa Review. If you want to be on the edge of what poetry is doing, you kind of have to read this journal. It’s essential.
- Sugar House Review. This is my favorite journal. They’ve been around for about eight years, and they started with a bang, with poems in Pushcart their first two years.
When I’m looking for poetry journals, I’m usually looking for what newness does the journal bring to poetry. So I’m looking for more than just terrific poetry. I’m looking for inventive poetry. Sometimes the invention comes in the form of images (like Miramar), style (like Cincinnati Review), pushing language (like Iowa Review), or having fun (like Sugar House Review and Rattle). I want surprise, even if the poem overall isn’t fully successful. I crave a consistent movement to the unexpected. I want the Gomer Pyle aesthetic: Surprise! Surprise! Surprise!
Tom Holmes is the editor of Redactions: Poetry & Poetics and is the author of seven collections of poetry, most recently The Cave, which won The Bitter Oleander Press Library of Poetry Book Award for 2013. His writings about wine, poetry book reviews, and poetry can be found at his blog, The Line Break: http://thelinebreak.wordpress.
I recently had a conversation with some poetry friends that centered around the question “Which literary magazines would you consider to be the top ten?” The lists people gave almost always had The New Yorker on top and then listed other high profile journals such as The Atlantic Monthly, Harper’s Magazine, The New Republic, Granta, Boston Review, Literal Latte, Poetry, The Paris Review and the American Poetry Review.
As, for me I am not sure what exactly the criteria is for being a top-ten literary magazine. From the above list it would seem to be magazines with large circulations and large advertising budgets. Some also may be chosen because they are generous with Pushcart nominations.
I can think of only a handful of poets that I know that have ever been published in even one of these high profile magazines. From my perspective most of these magazines are inclined to cater to well-known poets who will reinforce the publication’s own visibility. I am also not impressed with Pushcart nominations, since I know that almost anyone can get a nomination, especially if they are friends with the publisher. Pushcart nominations are worth nothing. Only Pushcart prizes are of value. Heck anyone with $50 and a friendly publisher can even get a Pulitzer nomination.
Personally, I don’t think it is really possible to “rank” literary magazines any more than it is possible to rank poetry in general. How do you rank Milton’s Paradise Lost against Whitman’s Leaves of Grass, Shakespeare’s sonnets or Eliot’s Wasteland? Poetry is an art, not an athletic event. There is no finish line to reach first. Instead personal taste and aesthetics must be considered for any “judgment” of poetry.
I prefer to offer up “favorites” according to my own criteria. First of all, more than anything else, I want to work with magazines that consider the poetry more than a “who’s who” of poets. I want my submissions to be considered for themselves and not because I have an MFA or studied under a former Poet Laureate. I am fond of journals that will place the work of an emerging poet alongside that of a well-known and respected poet. I also appreciate journals that are involved with poetry in multiple ways. In addition to publishing individual poems, do they have contests for chapbooks? And if they are a traditional print publisher, do they also have opportunities for online publications? Do they do things in the community? Are they in love with poetry and the arts as much as I am?
Since I am a visual artist as well as a writer, I have a special affinity towards journals that not only publish great poetry, but also include prose pieces, book reviews, and perhaps pictures as well. I love journals that pay attention to design and display work in the best possible way. I like journals that make a “good home” for my work and those of clients.
In addition to accepting diverse and quality poetry, my favorite journals tend to be poet-friendly. I like when journals accept paper copies as well as digital submissions and thereby give poets the option of how they want to submit. I also like publications that accept simultaneous submissions and/or previously published poems with acknowledgements. And I find it wonderful when an editor will contact me directly to suggest a small improvement or to clarify a format. Below are some of my favorite journals in no particular order. To my knowledge, none of them require a reading fee with the exception of add-on contests.
• Rattle Magazine accepts poems either by online submission, or by regular postal mail. They accept simultaneous submissions. In addition to their journal they also sponsor various contests for single poems and chapbooks, as well as offering online ekphrastic challenges or poems about current events.
• Red Wheelbarrow of DeAnza College welcomes submissions of all kinds, and seeks to publish a diverse range of styles and voices.
• Blueline is a literary magazine devoted to the spirit of the Adirondacks, a small regional magazine that accepts poetry, creative nonfiction, and artwork. It also accepts work from both new and established authors.
• The Aurorean has an interesting fall-back feature for poems which they feel are too dark, too long, or experimental, etc. Unless you request otherwise, these poems are also considered for their broadsheet, the Unrorean. They accept both mail and digital submissions and simultaneous submissions.
• The MacGuffin’s mission is to encourage, support, and enhance the literary arts in the Schoolcraft College community, the region, the state, and the nation. They accept both digital and mailed submissions, and have been publishing since 1948. They are interested in both prose and poetry.
• The Chaffey Review seeks out previously unpublished art, by both established and emerging artists, that is well crafted, has an intelligent sense of form and language, and assumes a degree of risk. They accept poetry, prose and art, and submissions can be made through the mail or online.
• Silk Road has an open-ended call for submissions and accepts simultaneous submissions. The publication is nicely done and if your work is published, they send you two copies of the book.
Obviously, my favorite journals tend to be independent small presses or publications connected with smaller colleges or universities. And while some of the above journals have been around for decades, I am sad to say that many other wonderful publications have disappeared or are foundering. Often these smaller, friendlier, more democratic journals fail for lack of money or staff. Rattle is a lucky exception in that it is backed by a large foundation. But most of these publications need to sell their books to stay in business or resort to reading fees or contests to cover costs.
But like I said in the beginning, attempting to identify the “best” or “favorite” literary journals is a very personal thing. It depends on how you see yourself and poetry and how you want to interact with others. For me, I prefer submitting to good solid journals where I have a reasonable chance of being accepted rather than to some elitist magazine which values circulation numbers more than the beauty of words.
An artist, writer, editor and local publisher of Palettes & Quills (http://palettesandquills.simplesite.com/), Donna Marbach is widely published in journals, anthologies, and periodicals.
I recently asked a few editors what they consider to be “top” literary journals and why they chose them. First up is Michael Meyerhofer (http://atticusreview.org/) in his own words below.
When it comes to poetry journals (or lit journals that also publish poetry) that I like, there are definitely way too many to mention, but here are some of my favorites, not counting Atticus Review where I serve as Poetry Editor, of course.
1) Rattle (energetic, accessible, and pretention-free)
2) Hayden’s Ferry (another smart, fun journal)
3) Mid-American Review (consistently awesome)
4) Crab Orchard Review (was promoting quality diverse voices long before it was kewl)
5) Rumpus (great, enthusiastic, multi-pronged approach to lit)
6) Diagram (good place to see a wide range of styles)
7) River Styx (probably the first print journal I started routinely reading cover-to-cover)
8) Cream City Review (another favorite)
9) Southern Indiana Review (still quietly chugging along as one of the best)
10) Redactions (another one well worth checking out)
The first time I discovered River Styx, I was busy trying to familiarize myself with contemporary lit journals… which mostly involved me getting frustrated and tossing many of them aside, after what they published struck me as overly erudite, self-aggrandizing bullshit. Then I came across a couple issues of River Styx, and I was blown away by how the poems honored language’s wild capacity for lyricism and metaphor without sacrificing accessibility. Put another way, that was probably the first magazine I enjoyed reading. A lot.
From there, I sought out other magazines that seemed to have a similar aesthetic. Hayden’s Ferry, Cream City Review, Southern Indiana Review, and Redactions fit the bill. They could be a bit more experimental at times, sometimes a bit less narrative, but I never got the sense that they were pushing the boundaries of form, lyricism, etc., just to be hip. Rather, they’re hip precisely because they do all those things for the right reason—that is, because the art seems to require it, because the sincerity of the piece allows it, and because it’s just plain fun.
As for Crab Orchard Review, that shares all the before-mentioned characteristics, I think, and was one of the main factors that drew me to pursuing an MFA at Southern Illinois University Carbondale. I was also drawn to the way the editors publish and promote diverse voices—something which is all the rage now—but do so in such a way that it’s clear their first commitment is to quality. I’m sure a fair amount of this is subjective, but what the hay.
Michael Meyerhofer’s most recent book of poetry is What To Do If You’re Buried Alive. For more information, please visit troublewithhammers.com.
If you’ve been submitting your chapbook manuscript and watching your bank account shrink because of reading fees, this question may be on your mind. Here are some thoughts on the subject from my own experience and observation.
Over the past 10 years, the world of publishing has been inundated with MFA graduates, most with at least a chapbook-sized creative thesis presumed to be ready for publication. That was me in 2007. When my final mentor at Bennington told me, when asked, that about 50% of my creative thesis would make for a good manuscript, my first thought was “Oh, chapbook.” That was not meant in the most positive way at that time.
Like so many others of the pre-millenial generation, I was skeptical of the merit of chapbooks. Several friends had chapbooks published by very, very small presses and had tales of woe about doing their own marketing, chasing down reading venues, etc. However, over the past 15 years the chapbook has become a highly respectable means of publication, with more presses including chapbook titles in their catalogs. This trend encourages more poets to complete chapbook manuscripts rather than full-length collections, as did I after five years of struggling with the issue.
Then there is the cost of producing a printed chapbook. Most contest fees cover the cost, but for publishers that do not run contests, have no major outside funding, or require no reading fees, the number of chapbooks they can produce is smaller. Even those publishers that operate under the contest model are less likely to opt to publish additional manuscripts from the list of non-winning finalists than in times past. Thankfully for me, the judge of Bright Hill’s 2013 chapbook contest selected my chapbook and another as co-winners and Bright Hill was gracious enough to publish both.
Another element is the increasing popularity of publishing ebooks rather than print. It may be difficult for some poets (again, of certain generations) to consider ebooks equivalent to the printed page, despite the fact that an online presence has the potential to reach far more readers than a 200 book print run.
There is also a growing market for multi-media publishing to which some publishers are migrating, mostly in the digital realm, as more technologically savvy editors assume their roles as those decision-makers.
Another factor is timing. Poets & Writers runs an annual feature introducing new poets with first books. While these are not chapbooks, there is one similarity to be observed. Few of those chosen for this special section had their manuscripts picked up immediately. For many it was several years. I was thrilled that I had only submitted my chapbook to 15 publishers/contests over the course of seven months prior to it winning at Bright Hill.
Finally, it all comes down to the ultimate decision-maker, be that an editor or a judge. There is no way to predict how many wonderful manuscripts are read and dismissed or passed along for the decision-maker to select just one.
When I began submitting my chapbook, I knew I was competing against some of my friends with strong manuscripts in very different writing styles and I even shared being a finalist with one of them. I told myself to give it a year and then to consider other options. I would advise that you do the same, submitting to as many places as possible, both financially and aesthetically, for at least a full year.
I hope these thoughts help to ease your frustration.
I attended several panels on publication, a panel on the sonnet (in case you don’t know, my graduate lecture was about the modern sonnet), a panel on revision, another on translation and a very interesting panel on balancing work for an arts organization with the creative life.
Panels on publication were among the best-attended, as if there were a secret system for getting one’s work accepted. There isn’t. These panels reinforced common sense: Treat your work and the editors with respect and complete professionalism. Know the publications to which you send your work, which means read or subscribe to those publications. Send only your best, completed work. If you are still revising, you’re sending it out too soon. Do not send anything that is cliché or slick. Do not make the assumption “big-named” journals are the best. Do send work with a strong voice that begs the reader to keep reading and re-reading. Learn how to submit online. Online submissions are far more the norm than postal submissions.
Several editors reported receiving submissions anywhere from four to five figures, which can lead to a hefty backlog. Many of these publications report acceptances at a rate less than .50 of 1%. Keep these figures in mind when you send your work to the most “popular” publications.
I’ll discuss some of the other panels and the book fair in upcoming posts.