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Introduction

In fact, if anything, my job hurt me in that respect.

I know this because of my own subconscious reaction whenever I received a submission from a fellow editor, which was, Oh, no, another editor who wants to be a writer, this has got to be bad. I will concede that there are some real asshole editors out there—rude, negligent, incompetent, narrow-minded, stupid narcissists who wouldn't know a good story or poem if it slapped them on the face—but they're a minority, I believe.

Note of appreciation

The vast majority of them, you see, are publishing their magazines as labors of love. The vast majority are volunteers. They have entirely separate full-time jobs. They fill out grant applications and read manuscripts and typeset issues and haggle with vendors and stick labels onto renewal letters in what little spare time they have. They forfeit their own ambitions as writers to accomplish this. They do it all for you.

Granted, it gets difficult for editors not to become cynical. So when editors find anything with a modicum of craft or originality, they are grateful—yes, grateful. And something else—a hard truth: This is what writers have problems swallowing. I know this, because, as a writer myself, despite my past experience as an editor, I do exactly the same thing.

Be kind to your poor, beleaguered editors. Buy a copy of their journals once in a while, or even, God forbid, subscribe to one. If you get rejected, just move on.

"Send Us the Work You Love." A Chat With Jodee Stanley, Editor of Ninth Letter | The Review Review

There are, at least for now, plenty of magazines out there. He currently teaches in the graduate creative writing program at Western Michigan University. Skip to main content. Interview with Don Lee.


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View the discussion thread. Kohl Bryan Furuness C. Can you talk a little bit about the themed issues? Why do you have them and how is the response? The response to our themed issues has been tremendous. For example, for our SmartApocalypse theme Issue 5 , we received over submissions over a two or three month period of time. Same for our Debut Author issue. I love themes and hope to introduce another one at some point in the near future.

Small journals matter because if we left everything to the big guys, well, echo chamber, anyone?

A Journal Focused On East and Southeast Asia: Graham Lawrence on Eastlit

PYP and the publishing of a few books came first, then I soon realized what a daunting, exhausting, expensive task it was. EIR was my attempt to pare down my stress levels while keeping my toes in the publishing world. It has done its job, and I love it for that.

What do you see happening next or, maybe, what would you love to see happen next? As a writer, what is your own experience with publishing in literary journals? The Linda Julian CNF Prize from Emrys in was huge for me because I had only been submitting to journals for about two years at that time, part-time. But the journal most recognizable to the most people would be Cimarron. I was thrilled about that acceptance, of course, and incredibly honored, and their nonfiction editor, Sarah Beth Childers, was exceptionally skilled and congenial.

Oh, and getting to work with other editors on a team is an invaluable experience! If you had one piece of advice to offer a writer, what would it be?

Canadian Journal of Forest Research

Okay, two is fine. The age old adage of never giving up. It may take someone a dozen or fifty or a hundred tries to get that first work or thirtieth work! So just work harder than you ever thought you would have to, harder than anyone tells you is sufficient. Tanya Perkins is an assistant professor and creative writing coordinator at Indiana University East.

Skip to main content. Not safe, but good. Involved, but not exhausting.