Editor Interviews

Two things come to mind: first, I create unique drawings for each story to post on social media; second, we have an appreciation for classics. We publish public domain classics in each issue and enjoy stories and poetry that call back to traditional roots.

Each of our editors and readers is a writer in Syracuse University's MFA program, and beyond that, our differences are as numerous as our similarities. This means we each have our own deeply-held opinions, our own separately acquired tastes, so when we agree on a piece's beauty, it feels like we've struck gold.
We also care deeply about the journal as a physical object. We're committed to bringing visual art into each issue that lends visual harmony to the written work. When we send out each new issue, it excites us to imagine a reader holding it in their hands.

Partly it is the rigorous editing - great books need a strong edit. It might be a kind of paradox, but it's true.

We don't get on every bandwagon. We look for writing that will stand the test of time. We care deeply about craft as well as vision. Literature should probe the mysteries and ambiguities of the human heart--it should challenge, unsettle, and transform us, not reinforce our own ideas and prejudices. Slant titles are also meticulously edited and carefully designed, from the text typeface to the cover.

We would like to focus on building connections between newer and emerging authors and poets and more established voices in our field, as well as all the supporting systems required to help bring projects to life: artists, illustrators, editors, copyeditors and proofreaders, marketing, technology, and printing partners.

The main thing that makes any publication different from any other would have to be the people doing the work: our readers & our editors. The next thing is our process. The senior editors read every submission. It is a huge commitment, but no submission is accepted or declined unless the senior editors have weighed in.

1. We pay writers.
2. All submissions are carefully read by multiple readers. Everything is respected.
3. Much of the work--design, interviews, editing--is done by our team of undergraduate writers.

We read/publish four times a year. Each with a two-week reading window and quick turnaround times.

Aside from the unique material we publish, we provide fast turnaround on submissions--usually inside one week--and we'll never leave writers hanging by not responding at all. We'll also work with writers to make sure the formatting of their work is just the way they want it.

There are no fees, no themes, and no reading periods. In fact, we’re open for submissions 365 days per year. We feature three stories per week and only take a break from publishing for two weeks end December. We aim to keep our editorial standard consistently high. We form good relationships with our authors and have a high rate of authors who return to us. We respond to submissions within two to three weeks and, if we really want a story, much more quickly than that.

I am a lifelong lover of science fiction. I founded Folded Space to put space, exploration, and technology at the center of the stories we publish. Not every story is set among the stars, but each explores how sentient people live, grow, and die in a universe that is vast, indifferent, and dangerous.

Our heart, humour, aesthetics, and attention for detail.

We do not discriminate on any worth or not worth it. Just write and submit.

We limit our main run to exactly 24 pieces per year.

What sets The Rebis apart is our commitment to depth, social justice, and the print format. Every issue centers on a single tarot archetype, inviting dozens of contributors to illuminate the same symbolic terrain from radically different perspectives through fiction, non-fiction, poetry, and art. We also redistribute all profits to social justice organizations - we are grounded in anticapitalist principles of art-making during times of crisis! Finally, in an era of endless digital content, The Rebis is intentionally print-only.

In addition to art and writing from differently abled, neurodivergent, and non-English speaking students, The Blue Bell Review readers will find honest and thoughtfully curated content by young writers across the globe, along with cool prompts, book recommendations, and advice from established writers, editors, and former contributors.

We actively seek out new voices as well as old hands, with an interest in publishing unique stories from underappreciated talent; our focus is to bring readers character-driven and genre-crossing storytelling in dark speculative fiction, including horror, thrillers, dark fantasy, and crime fiction.

What makes us stand out is that we are a bilingual publication (Chinese and English) and we have an emphasis on diasporic Chinese authors and artists, even though we solicit submissions from all contributors.

-We allow readers to donate directly to published writers.
-Our publication makes a point to build and develop relationships with writers, publish multiple pages of their work, and in that way contribute to the development of their individual poetic voice.
-Postmodern classicism, as a guiding principle.
-More direct submissions system, through email.
-Opportunities for mixed media work, comics, and video art.

One of the stand-outs of Blood Tree Literature is our slant toward hybrid writing. Cross-genre, omnigenre, undefinable, and otherwise experimental literary arts are finally getting their due in the literary world these days and I'd like to think BTL is helping put that focus forward.
The other big thing that also defines Blood Tree is our commitment to honoring our contributors and the care they put into their work. We have dedicated webpages to their books, publications and programs they run, and we've recently established Book Reviews and Author Interviews that focus only on them. It's so important to us that we represent their work accurately in our magazine and celebrate their external projects to our audiences.

Although our website content and quarterly anthologies feature dark and unconventional stories and poetry with an uncanny twist, that does not set us apart, per se, from others who publish similar material; that said, who we are as a team of editors (and what we therefore contribute) is a distinct point of difference compared to other literary magazine teams, as their team structure is to ours. Why? Because our mix fits for what we, as a team, bring to the enterprise with our individual knowledge and skills backgrounds in academia and other lived-life experiences, just as it does for other lit mags.
But for a more detailed response, here are three factors that stand out for us in what our magazine brings to the publishing world, or we have planned:
(1) A sharp, defined editorial niche – dark and unconventional storytelling/poetry. We explicitly position ourselves around horror, 'New?Weird,' supernatural, speculative, dystopian, fantasy, and Gothic works. By carving out this eerie, genre-bending space, we offer writers whose voices don’t fit mainstream literary journals a dedicated home.
(2) A community-first infrastructure. Multiple entry points, newsletter sign-up, member accounts (planned), a store, and a submissions portal encourage ongoing engagement beyond a single issue.
(3) Multimedia-enhanced publishing, e.g., the ability to embed podcasts, videos, and audio narration alongside text (some planned). Multimodal storytelling would expand our reach, attracting listeners wishing to move from a traditional text-only format, also giving contributors extra creative avenues (e.g., the possibility for narrated flash fiction), differentiating us from pure print-or-web-text magazines and reinforcing our 'uncanny' brand identity.

We have a focus on urban fantasy (which can mean contemporary or sword and sorcery), especially when combined with detective/crime fiction. We also accept gothic horror, meaning vampires, werewolves and ghosts, but it's best when those tropes are combined with other genres. I will also gladly publish comedy which I think genre fiction needs more of.

We are a paying market, currently $30 per story/poem. We also pay our editors. Most submissions are unsolicited. However, trampset editors can also solicit material from writers we individually admire. We welcome and seek diversity. We accept submissions on a rolling basis and have a quick turn-around. We also invite guest editors from time to time.

A great question and hard to answer because there will be similarities. But we try at Temple in a City to balance literary wow with heart. If you have a technically great story or poem but it's a little cool, a little intellectual, versus one that's maybe technically not so perfect but captures something about what it feels like to be alive (good or bad), if it's relatable in a way I think will be helpful to many others, we'll gravitate toward the latter. TiaC is meant for writers and for readers, including those who may be intimidated by the idea of lit. I'd love those readers to dive in and see it speaks to them, too. For them to see themselves, even their secret parts, in these words. And I've love writers who are immersed in the writing and lit world to dive in and remember (again) why they do this, why we all do this.
We're not hung up on genre, genres are good, lit is good. We're not afraid of joy. We need joy right now. Probably always. But we're not afraid of pain either. We love words that just make you think 'wow.'

Welcome to intrepid culture...
Intrepidlode: Our name and brand of storytelling.
Intrepidlode is fiction centered on an alarmingly individual's courageous pursuit of a meaningful goal.
It defines situations and people who step forward immediately, when stepping back would be easier—no resistance in the moment.
Overcoming, inspiring fiction.
That’s intrepidlode.

I won't pretend as though I am super familiar with other genres operating in the same space. But I will say that we have a focus on aesthetics and presentation that I think has helped give us a distinct identity since we started RABBLE REVIEW. Angel Neri who pulls double duty with EIC duties, also works as our designer, and from the start his attention to detail has made RABBLE REVIEW an impressive visual treat. I love that our magazine is pretty because we are publishing some amazing work. We don't want you to swipe through to the end. In addition to that we also treat the launch of our issues as an event. We're constantly cognizant of the amazing work we are being sent, so we want to make sure we are celebrating our featured artists as much as we can. Why shouldn't our issue launches come with an announcement trailer? Art is cool! Our contributors are amazing! We love finding an excuse to celebrate that in the flashiest way possible.

I think we are different in that we really try to take regionalism and the margins seriously. We don't publish exclusively work from a place, but are place bound. We want to put writers, artists, activists, and thinkers in conversation with each other. My dream would be to see something the press does leading to a bigger project of people we brought together, and that project to have nothing to do with us. That to me is a mark of success. You have helped create something that outlasts you.

We look for literary tone and quality craft before anything else. If the craft is there, we ask: how does this story add to either our collective understanding of magic or our appreciation for mystery? Our publication is enchanting, inspiring, and though-provoking.

We are particularly open to poems from new and emerging writers.

Red River Review is a literary arts journal for writing, visual art, and creative practice. We publish poetry, short fiction, creative nonfiction, hybrid/interdisciplinary work, photography, and visual art.
What sets us apart is our interest in work that feels alive on the page or in the image. We look for strong voice, memorable imagery, emotional depth, humor, a sense of place, and a willingness to take risks. We want work that helps us see differently and stays with us after we’ve read or viewed it.
We read with care, present accepted work thoughtfully, and preserve published work in a lasting digital archive. We see Red River Review as both a publication and a place for ongoing creative practice.

We select only a few pieces for each issue so the edition can be read in its entirety. We also read submissions regardless of genre so we're open to poems, fiction, nonfiction, but also hybrid forms, the in-betweens, the beyonds.

The Quasar Review is writers/readers-first in its operation. We do not charge submission fees, maintain a highly curated (<8% acceptance) content output, send decisions in less than 30-40 days, and offer submission feedback from the 10-20th of the month. In other words, we accept the best material but allow submitters to improve without waiting half a year.

We care about heartfelt, honest, authentic, HUMAN writing more than so-called "craft" and our Editors have wicked and wild (and subversive) senses of humor. Too much writing out there says too little in too many words or it only says what everyone else is already saying. We aim to remedy that dismal fact. We think about the Future more than the Present when it comes to Art.

An equal focus on established and emerging Southern voices

Most literary magazines draw a line at prose and poetry but we make room for dramatic writing, which we embrace as equal to fiction, poetry, and creative nonfiction. Playwrights and screenwriters are welcome in Qu! Even though we have literary roots in Charlotte and the South, our issues tend to feature underrepresented writers on an international scale.

We reward the talent and dedication of parents to the art of literary writing - we do not publish parenting essays and many other parent-centric literary magazines focus only on the topic of parenthood. We prefer brilliant writing on other topics, but written by parents. (of course we will sometimes choose a story about parenting. It is entirely based on the talent of the writer and not the subject or particular style.

We are fully dedicated to author development and empowerment. Most of the principals of the company are themselves serious writers.

FLARE’s editing team changes from year to year (though we do have some returning student editors). This lends a fresh vibe to every issue, and our editors are often quite enthusiastic about the work that’s chosen for inclusion, which comes across on the page. FLARE is both literary and quirky and often pushes boundaries. We publish bold, beautiful, and moving works full of passion and flair, and you never know what you’ll come across in any given issue.

IHRAM Publishes, which is part of our micro-charity press, IHRAM Press, has a unique set of values: beauty, sincerity, vulnerability, and engagement. We choose work that promotes these values and stays away from anger, hate, or pointing fingers. Global writers and artists share first-hand accounts of social-justice issues happening in their corner of the world.

We focus on Big stories. Something that is going to change your world view a little; give you something to chew on. We like unlikely protagonists, who don't usually get the spotlight. We love a strong theme, a big issue, bold story telling. And all from women, BIPOC, LGBTQ+, and other minorities.

We're crazy.

1. We spend hours talking about each piece and picking a Little Guy that represents it emotionally and spiritually.
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2. We curate pieces that fill a very specific niche. Our niche feels like watching the fire scene of The Hunchback of Notre Dame at age four, diving into a very deep pool, dissociating while rural Catholic farmers in jeans recite the Nicene Creed in unison, encountering a new and strange animal, or imagining the sounds at the bottom of the ocean.
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3. We have an experimental, innovative design that marries content and form and really isn't duplicated anywhere else.
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In sum: Strange Hymnal is a place to explore mystery. Strange Hymnal is the god who lives inside the car wash. Someone once described Strange Hymnal to us as something a person would put together during a psychotic episode—there's a thread woven through it that logically makes no sense at all, but you can feel the way these things are connected. Before we had a name our brainstorming document was called Papal Gay Animals. The best thing about Catholicism is the pagan rituals. We worship what we find holy.

Spirit Lake Review is completely ran by undergraduate students. All submissions are reviewed, voted on, edited by students who want to learn about the publication process and get involved.

All our issues are published in both print and online, so writers can order physical copies and also share there work widely via social media. Our team of editors is generous in terms of the time spent reading submissions. We strive to send personalized notes for all pieces that make it to the final round.

We publish writing that inspires hope, compassion and love. We look for work that touches hearts. We transcend divisions created by humans and publish all those who can meet our criteria. We are inclusive. We cherish imaginative writing, humour and balanced non-fiction. We also carry stories of people who have climbed out of victimhood. We showcase survivors and travellers, people who have been resilient.
We are also multi-genre and willing to experiment.
We carry translations -- the translators need to get the writers' permission or find work in the public domain. We have a special Tagore section, with many translations and writings that showcase his work and how he continues to inspire.
We have brought out two anthologies from our content. They have both been published traditionally. Any earnings from the anthologies would go to the upkeep of the journal.

We try to integrate the literary community as much as we can into our editorial process by inviting interviewers to help shape each issue. Annually, we offer a six-month fellowship to four emerging writers and also run The SmokeLong Quarterly Award for Flash Fiction, The SmokeLong Grand Micro Contest, and The SmokeLong Workshop Prize for previous and present participants of SmokeLong workshops.

Litro is an international magazine founded in London in 2005 with an active U.S. presence based in New York. We publish rigorously edited fiction, creative nonfiction, and translation that moves between cities, languages, and cultural contexts, rather than operating within a single national literary frame. Our editorial approach is shaped by long-form curation, strong narrative craft, and a commitment to global voices, supported by a publishing model that combines print heritage with digital-first circulation.

Not Quite Write is known for publishing a huge, cross-genre variety of flash fiction, however we’re best known for publishing “low brow” comedy. There aren’t too many places where you’ll find a literary masterpiece alongside a fart-based romantic comedy, but we’re equally proud to showcase both!

We work to develop a sense of community among those who are featured in our publication. We started with a small group of friends, making art and creating stories, then publishing their work in a small zine. We then included other creatives in our state (Wisconsin) before welcoming artists and authors from across the USA, into Canada, and from Europe. We publish a full color, perfect bound, professionally printed edition on a monthly basis.

The work we publish is consistently interesting and of value to both professional poets and non-specialists.

We provide all submitters with sincere and detailed critiques of their work. We PROMOTE our authors.
As a non-profit, we need only make enough money to keep our lights on and pens well-inked.

We look for stories with heart written by authors who can connect us to a character in a brief story format. We love speculative, magical, fantastical elements, but we don't want those to be the center of the story. We're different than some other sci-fi/fantasy publishers in that we aren't looking for world-building or magic systems. We want an emotional core in a magical/fantastical setting.

The Offing actively seeks out and supports work by and about those often marginalized in literary spaces, including Black and Indigenous people, and people of color; trans people, cis women, agender, gender non-conforming, genderqueer, two-spirit, and non-binary people; intersex people; LGBQA (lesbian, gay, bisexual, queer, asexual/aromantic) people; people with disabilities; and especially people living at the intersections of these identities.

We take a "big tent" approach to crime and mystery fiction, by which I mean we're interested in publishing widely across the genre. That includes grittier crime stories, historical mysteries, comic heist stories, etc. We also showcase work from established, well-known names as well as emerging authors. Our goal is to function as a true review of the genre, always entertaining and hopefully surprising.

We work very hard to separate personal taste from submissions. I've been part of many editorial teams and have witnessed too many exceptional stories getting rejected for conditional factors beyond a writer's control.
The exact incident that sparked InterrobangLit was a fellow staff member stating a piece was impeccably written but they had read the subject matter too many times to allow it to move forward. The piece was rejected and I didn’t think it was fair that impeccable work was rejected because of someone’s personal reading history.
InterrobangLit uses a rubric to evaluate several aspects of craft to ensure every piece is weighed equally and fairly. We try our best to keep vibes, preferences, and whims from influencing our decisions.

Home Planet News is nearing its 50th year as a literary magazine.

Rad is unique because we publish short stories in a chapbook format, not anthologies. So, each artist gets an individual publication, a cover, and an opportunity to profit from their work. We are a Canadian-based publication, however, we do publish international writers as well. We don't have themes or specific genre requirements, and since we are a bookseller and a publisher, our publishing model is a bit different.

We publish new and estalished writers who share valuable, well written stories

We focus on being a platform for queer works with no genre, theme, or geographical restrictions. Lavender Rising Magazine is for queer creators to share their work, often getting published for the first time. We endeavor to one day have a large community that helps promote queer creators from all walks of life.

We're a passion project with no money flow and no intent to ever charge writers for submitting/readers for reading.

We try to solicit a handful of well-known writers to include alongside writers at various stages of their careers. We hope this brings a variety of readers to our pages.

Unlike conventional nature or gardening magazines, we explore the natural world through fiction, essays, poetry, satire, and art and offer an imaginative, unconventional - some might say, eccentric - take on the world.

Tigerpetal Press exclusively publishes handcrafted poetry and short fiction chapbooks in small print runs. Every book is created and stitched entirely by hand.

I like to think that smallness is Locative Magazine's advantage. We're run on a shoestring budget with volunteer work, and we're not contending to be the biggest and best voice in Australian literature. That means we're more keen to pick up work from authors who have never been published before, or who speak for a smaller or more niche facet of the Australian writing scene.

We focus exclusively on literature of the American Jewish experience.

There are a lot of companies out there reprinting "out of print" crime novels and new books. We have a niche. Our motto is "we publish the best crime novels in existence." That means, in the case of reprints, that we're primarily interested in award-winning, highly-acclaimed mysteries, thrillers, and spy novels. The books we reprint have won, or been nominated for, such honors as the National Book Award, and genre-awards like the Edgar, Shamus, and Anthony...or have earned acclaim from *major* publications (NYTimes, Washington Post, Publishers Weekly, etc) and well-known, highly respected authors. That's our niche... the best of the best. We are very very very selective in the works that we reprint. We aren't interested in reprinting self-published books, novels published within the last decade, or the new sequel to a book (the latest in a series) that's still in print with another publisher.
In terms of new work, we're looking for writers with strong voices and fresh stories free of cliches and not bogged down with exposition. These books have to be every bit as good as our proven reprints...and the unbroken string of rave reviews from Publisher's Weekly, Kirkus, Booklist, etc. for our new novels shows we're on the right track. We're very picky -- less than 5% of 4000 manuscripts submitted to us in the last decade or so have made the cut.

Like many other flash journals, we strive to publish quality over quantity, but what might set us apart is our focus on women. That and our issues are (loosely) themed. We only accept work from women-identifying writers. We are open to a range of topics, but through a woman’s lens.

We're interested in what happens when we assemble a collection poetry, art, and prose by folks who identify--in some way--with the Midwest, all its various parts. It's something new every time, as expansive and complex as the Midwest. Our print publication features full color art, and our online edition (six months post print publication) brings our authors and artists to even more readers.

Well, we hope you can actually read ours. So many publications either get too complicated or just lost the sense of fun. Reading as an act should inform and inspire, but it should be fun or we've lost the game. Even serious work should be fun to read. I hope we bring serious work and lighthearted work together and have fun exploring out culture in a way that readers can feel like they get the joke, not feel left out.

I think Neon & Smoke lives in the in-between. We publish work that doesn’t fit neatly into boxes—emotionally driven pieces that blur literary and genre lines and trust readers to sit with discomfort, ambiguity, and feeling. You may find stories of race, lust, or spaceships in our pages, but all of them center humans under pressure—pushing forward or getting pushed back. That’s why we say we’re half-genre, always lit: the categories shift, but the emotional core never does.

Not so much, really.
We’re two writers who publish work we like, using a bare-bones website with a homepage designed to look like the table of contents of a short story anthology. We do, however, pride ourselves on a quick response time – only very rarely will authors have to wait longer than one week to hear from us.

We are living in a moment of relentless visual encounter. The irony is that, despite this saturation, few literary spaces truly dignify visual art as an equal partner to language. VOLTA was created in 2025 as an online magazine dedicated to changing this reality—not only by publishing fresh, exciting voices that challenge literary convention alongside a wide range of visual art, but also by utilizing the power of the online world to reinvigorate the written word for our generation. The name comes from the poetic turn: the moment a piece pivots and startles itself into seeing the world in new ways—what we might call “the art of recklessness.”

We're fans of the bleak. There are not many happy endings in our pages!

We make a concentrated effort encourage submissions from older writers (particularly those who are new/emerging). It's too easy, as the years tick by, to feel 'too old' to start something new or to chase fresh opportunities; we believe it's never too late, and you don't have to start young to be fulfilled and successful.
We also accept submissions of scripts, which is less common in the world of litmags.

In addition to publishing contemporary fiction, poetry, and the occasional work of nonfiction, we also publish anthologies and hybrid works. Also, a large portion of our list is dedicated to chapbooks.

Soul Poetry, Prose & Arts Magazine seeks to publish work that is real and relatable to everyone. There are too many people who think poetry isn't "for them" or who think poetry is too hard to understand. I want to see work that connects us to each other as human beings, work that says, "I see you. I feel you."

We work with emerging short story writers and help them get exposure through producing their work for our listeners. We run fiction workshops and literary salons as well. We also interview successful writers in various genres about how they approach their work.

This is an unapologetic passion project of mine so I can suit my own, often eclectic, tastes. We are called Neither Fish Nor Foul for a reason. Each story gets read by me (without knowing the authors name or bio) and I liaise with the writers to ensure it's presented to its best advantage. I am also a writer and I think that's important - I am not sure it's unique but it is something I pride myself on.

Nothing, really. It's just short, sweet, stunning pieces that I want to shed light on and promote as best I can because they're awesome and terrific and the writers deserve all the best things. The more literary outlets the better, I say.

We publish writers of all ages. There is no limit on word count. We love to publish writers who have never been published before. We also publish established writers who have been working at their craft for many years. Our site is accessible to anyone who loves to read and write. We also feature interviews with authors and artists, reviews, original artwork, photography and comic art.

A truly eclectic mix of poetry, art, and prose along with a frequent online publishing cadence ensures that there is always something fresh in January House. We publish online, in-print, and on-kindle as well as offering all of our issues for free in pdf format.

We have a collage of experience with art and music and writing. For us, not all the angles are represented by the rhetoric and so we're able to see the author's rhetoric apart from her voice. Like just knowing a piano is a percussive instrument or how a double shuffle 'old train beat' moves someone away from devotion, praise, and gospel, toward Blues. For us, when reality is a work of art, all writing is ekphrastic, and like the half punk drummer says, 'there's no such thing as static.'

Our contributors and readers appreciate the connection and global community we create with our themed issues. Topics are selected specifically to engage conversation across genre, culture, age, and personal perspective.

I don't know if there are any other literary magazines focused on the literature of revenge, first and foremost. And certainly many are focused on justice. But I think Villain Era sits at the intersection of revenge and justice, two intertwined ideas that look different depending on which angle you view them from. We will publish writing in any genre or cross-genre work as long as it is about settling a score or settles a score in the act of being written. But we are not a mean-spirited magazine; there is a fine line between justice and harm, and we walk it.

I don’t see us as “apart” from the other presses.

We publish an annual anthology with a unique theme every year. What sets this publication apart is that we have been publishing consistently for 23 years! We have a rotating Editor position that is taken over by a new person every couple of years.

We are able to operate much faster than other publishers and take on much more author input on design than is normal. We have superior taste and truly love everything we publish.

I think all of us indie presses have our own vibe. It's one of those ethereal things you can feel but can't put your finger on. The greatest compliment I ever received was that Gnashing Teeth Publishing has a "great curatorial eye." The poets and authors we choose to publish all have something important to say or share. They are baring their souls for us to read, to relate, to understand, to learn. More than once we've heard "I didn't think anyone would be brave enough to publish this." Here we are, doing our little part, to stand against expected norms and just publish really good work. I think that's the best part, not having a quota to fill. We aren't filling out a calendar and picking books just because. We are enthusiastic about every book we publish. We work hand-in-hand with our authors to make it a book they are proud of.

I'm eclectic in what I choose. It may be genre. It may be literary. It may some combination of the two. I choose pieces that speak to the human condition (and the writing prompts) in interesting ways.

LOL Comedy stands out for its focus on timeless humor and inventive takes on the everyday (or even the fantastical). We have a particular love for comedic poetry and open letters, two areas where are contributors particularly shine. Our little old lady mascot embodies the perspective of someone who’s seen it all and developed a refined, enduring taste in humor, guiding our curatorial eye. We celebrate work that’s clever, surprising, and thoughtfully funny, creating a space where readers of all generations can discover comedy that lasts beyond the moment.

Fifty-Word Stories is unique because it is the only publication in the world (that I know of) that exclusively publishes microfiction in the exactly-50-words format.

We prioritize innovative, boundary-pushing work across genres by both emerging and established voices while maintaining a curated, author-centered approach. It can be hard for full-length hybrid manuscripts to find a home because of time and effort that goes into both the design process and getting the books into the hands of readers who are interested in work that's outside the box. Because we only publish a couple of books a year, we can make sure each project gets the time and attention needed to create beautiful books that find their readers.

What sets Broad Ripple Review apart is our care for the writer. We are highly selective and intentional with the work we publish, but we approach every submission with gratitude. Free submissions matter to us because we believe that access to literary spaces should not depend on the ability to pay. We rely on tip jar donations and optional editorial feedback services to generate honorariums, which allows us to pay contributors without placing a financial burden on submitters.
Our responsibility does not end at publication. We carry the work into the world with seriousness and continued advocacy. We promote our contributors on social media, feature their work beyond the issue, and remain invested in their creative trajectory. We believe that literary publishing should be relational, not transactional. When we accept a piece, we are committing to championing that writer, not only in our pages but as their career evolves.

Despite only accepting work from the LGBTQIA+ community, we feature a diverse set of authors and themes.

We get central Appalachia. Our writers don't have to cover up or apologize for their hillbilly backgrounds.

We're not afraid to publish nearly the entire breadth of fiction available in speculative genres. We don't mind overtly political pieces, either, and considering raging against the machine a critical and vital part of spec fic in this age of rising authoritarianism around the globe. And we're willing to take humor as well, which so many current magazines overlook. There's some truly fabulous spec fic humor stories that are going unpublished for lack of venues.

One difference is our strictly cooperative payment model—every contributor (including the editor/publisher) gets an equal share.
We're also intentional about being transparent and responsive in our dealings with contributors, which includes giving them a chance to view a preview of the issue and make sure their work is being presented to their satisfaction. We accept input, including bio updates, right up to the last minute; web publication makes this ridiculously easy, and it should be standard practice.

We offer authors a much higher percentage of earnings, one, because we aren't worried about making any money, and two, we won't make any money.
To be serious, though, I am attracted to experimental writing, but my location has put me in a community of writers with very different interests from my own. So, to scoop up the astonishing talent we have in the UP of Michigan, I make a special place for writers from my home and give them special consideration when they submit work.

We publish a highly eclectic mix of subject matter and style, and we are very welcoming to new authors.

Two things separate us: (1) our publishing process. We publish live on our website as we accept items. When we publish a new piece (pretty much weekly), we send an e-mail to our subscribers asking them to read it, and also post it on social media. In this way, the author gets a few days in the spotlight. At the end of the themed submission period, we then compile and publish a completed journal. And, (2) the personal attention we give every submission, every query, every rejection (we don't use templates) and every piece we accept. We truly love doing this, and I think it shows.

Wordgathering: A Journal of Disability Poetry and Literature (ISSN: 2690-7089) is a digital, Open Access, biannual journal of disability poetry, literature, and the arts, with two interconnected purposes. First, we are dedicated to providing an accessible venue for featuring the work of emerging and well-known writers and other creatives with disabilities (disabled writers and creatives). Second, we seek to make available and expand a searchable core of this work for interested readers (with and without disabilities) who are committed to disability poetry, literature, and the arts across a variety of media.

I publish fiction and poetry that is surreal, atmospheric and can be macabre, mostly about death. We also publish music reviews.

Longevity. Thirty years is a long time online. Quality. The Million Writers Award used to be one measurement of quality: we had more top ten and more notable MWA stories than any other electronic publication. Eclectic. I'm proud of the range of material--subject matter, genre, geographic origin--packed into every issue. Simplicity. Our website doesn't feature fancy graphics or blinking lights. It's clean, easy to navigate, and easy on the eye.

From the very beginning, Apricity was created because so many lit and art mags don't publish multimedia and dance works. Dance in particular has very few avenues for publication and often only exists in the moments its performed. While that is a beautiful aspect of dance, dance, like every other art form, deserves to be experienced and seen by people regardless of if they happened to be in the right place at the right time. That's also why we publish all of our issues online and for free, so that everyone can access art at any time.

Too much science today is communicated only behind paywalls, through sensational bytes online, or through misinformation. We publish creative writing inspired by science — fiction, nonfiction, poetry, experimental, graphic/comic — to better contextualise science for diverse readers. Through our themed editions, we consider the many implications that a concept (such as “Extinction” or “Synergy” or “Quantum”) might have for our everyday lives and watch ideas play out through story, character, and description. We believe in access to art and science, so our magazine is free to read online. We also pay our writers.

Focus on sense of place and strong design aesthetic.

We only work with stories and poems that have gone through the rejection, revision, and resubmission process.

We value ourselves in having as open of a communication with our authors as we can manage. We keep in touch, answer questions, give updates on the publishing process, and support and promote their work. For us, writing is about community and we want to give into the literary community the same energy we pull from it.

Mainly, the fact that our primary focus is on work by Zambian writers and photographers. But we hope our presence will encourage other editors in Zambia to build similar spaces.

I like to publish pieces that inspire and promote self-help and self-improvement. I enjoy publishing pieces that offer diverse perspectives, enabling readers, or in the case of art, to form new opinions and ideas about life, its meaning, how we interpret our world, and how to improve the planet through personal and societal growth. I also love to meet new artists, poets, and writers who strive to meet those goals.

The Arkansas International seeks to put US writing in conversation with writing from around the world. We seek out poetry, prose, and comics not only in English by US writers but also in translation from other languages and original work in English by writers from elsewhere. We value writing that challenges ideas of "global" and "regional" literature, and support writers at risk in their home country with our Writer-at-Risk residency. Our website, www.arkint.org, publishes selections from the magazine alongside additional content, such as reviews, author Q&As, and other features.

In the words of the founders of the journal in the mission statement,
“Dare. Risk. Dream. Share. Ruminate.
How do we understand our place in the world, our responsibility to it, and our responsibility to each other? Clockhouse is the eclectic conversation about the work-in-progress of life–a soul arousal, a testing ground, a new community, a call for change. Join in.”
We are dedicated to supporting conscious writing, work that is awake and questioning. We seek to support singular voices and under-represented communities.

That's a tough one. I don't ever want to put us above anyone else. Fiction, books, the writing of words; these are things that drive me. I'd say what sets us apart is that we believe, in a world full of bastards and AI, we believe that fiction is more than something to fill the hours. It can say something about the world and, maybe, make things a little bit better. If only for a moment.

Unlike most other literary magazines for children and teens, we are founded in a Christian-worldview. We love children and families, we love stories and art, and we love Christ. We aim to combine these passions into a publication that is a safe place for kids, while still upholding quality and thought-provoking material. We also want to encourage young talent.

I offer editorial suggestions and feedback on all accepted pieces and try to offer something of value in response to most rejections.

The work we published in our online publication, redrosethorns journal, is centred around mental health, self-care, gender and sexuality. They are broad subjects but very specific compared to many other publications, and we accept all genres and styles with the intent of highlighting how diverse and inclusive these subjects are. Plus, we host events that incorporate art and literature around our themes, bringing literature to life, if you will and a space where we can foster community, support and engagement around these subjects. I don't think many publishing companies do this, or at least if they do, their events are about writing and how to get published. Ours are about the work we publish and teaching others that reading and writing can be educational, healing, creative, and create connections. The journal stands at the core of this mission.

It is very niche. The work we published in our company is centred around mental health, self-care, gender and sexuality. They are broad subjects but very specific compared to many other publications, and we accept all genres and styles with the intent of highlighting how diverse and inclusive these subjects are. With this publication, Thorn & Bloom, we specifically focus on self-care, where we draw attention to how taking care of the self is a radical act toward personal and political liberation. This means that we uncover the ugly (i.e. thorns) things in life to understand what aspects are suppressing, oppressing, and repressing us, then we navigate ways to unlearn these things and find better, healthier ways to exist (i.e. bloom).

We strive to publish work from a variety of aesthetic traditions that explore the possibilities of genre, form, and language. We thrill in reading work that falls in the spaces in-between what is known and what is unknown. We occupy a space between the most experimental publishers and more traditional literary fiction publishers.

Collaborature is different from other publications in that we only publish collaborative poetry and fiction. In other words, anything submitted must be collaborative between two or more writers. We allow collaboration in the form of ekphrasis, epigraph, call and response, and many others, to allow for a wider range of what is submittable.

We make explicit the implicit political commitments of hybrid work. We hope that those who engage with our publication think closely about the political implications of refusing genre and creating work that dares to be uncategorizable, and even unmarketable.

We have a distinct form - our magazine folds into a bookmark. It can be printed and read, for free, from anywhere.

Unlike many presses that publish stories that deal with faith, we are interested in any real-world religion, not just Christianity (for example).

Each issue has a different theme such as "Travel and Migration" or "The Guitar Issue." Each submission must relate to the theme and to music, which creates a unique challenge for writers.

We are serious about literature and art, but we also have a whimsical side.
We take a personal interest in each story, poem, essay, and piece of art that we publish in Cleaver. It's not unusual for us to work with a writer through several revisions before accepting a piece. We also put a lot of thought into the presentation of each work we publish. We care about how it looks on the screen and invest effort into layout and graphics that will make the best possible reading experience. We consider ourselves stewards of the work we published and are dedicated to keeping our extensive archive fully and easily accessible.

We do close developmental editing with our authors and give them the final choice on all editorial decisions. We buy reprints and do not ask for exclusivity. We respond within two weeks if accepting work. We offer completely transparent impression counts and traffic sourcing data to writers.

We value unique voices, voices that don't sound like anything else already out there. We consider genre fiction and literary fiction equally, as long as it's well-written. And we always prioritize hope in the work we publish. The world is depressing enough; we want literature that shines a light on the good side of humanity.

My co-director and I only publish books that we both love. We read every submission independently of each other and come together with the verdict. We want the story to flow to the extent that we aren't aware we are reading a submission - we are just reading a great story. We hope that the books we publish appeal to fans of genre crime fiction but also give them an extra literary punch. We want our readers to come back for more. We've had books shortlisted for Bloody Scotland and the Crime Writers' Association dagger prizes so we hope our instincts for good writing are right.

Flash Fiction Online publishes only stories in the 500-1000 range, and we are unique in that we accept work across both speculative and literary genres. We pay our authors professional rates for short-short fiction that includes all elements of story -- plot, characters, setting.

People appreciate the exploration of what makes us human. The word “holy” has many applications beyond the expected subject matter based on religious teachings. How do we walk this earth? Suffer? Heal? What brings us despair or joy? How do we build community rather than tribes? Where do we find beauty in our sorrows?

We developed Roses & Wildflowers with the aesthetic concept of focusing in mythopoeia in fiction and poetry and fabulism in the visual arts. We pair artists and writers, be it fiction, poetry, or the featured "audio offering" . We encourage the artist and the writers to communicate their concepts and ideas to each other, and when that becomes a collaboration, the results are pretty gorgeous. In the final stage of the process, Artist in Residence for 2025/6, Jack Ruttan, designers, Dara “Maverick” Napoli, and Sharon Knight dive in to create something very special from the work of the writers, editors and artists in each issue. It takes a little over a year from idea to publication for each issue . It's a labor of love. As an editor, I consider myself very lucky. There are still bugs to be sorted out on our webpages as we continue, but we are learning.

We don’t really know how to answer that, as all the publications out there are remarkable, but if there’s something we invest a lot of time and resources in, it’s our print quality. We provide premium-quality print editions alongside amazing-quality content, of course.

Oddballs, geniuses, weirdos, eccentrics, and visionaries are all welcome at Moonstruck Books. As a small press, we eschew the metrics-driven logic of big publishing houses. It is our joy to focus on quality, authenticity, and individuality. We sustain editorial relationships that nurture writers throughout their careers, from relative newcomers to established authors. Integrity and transparency are vital to our work, and we place our values first in every decision. We focus on quality over speed; our editorial team prefers to remain anonymous.

Red Dirt Forum seeks voices that speak to the complexities and diversities of contemporary New South issues. I don't know if this sets us apart, but this is the mission we are devoted to.

We accpet both fiction and non-fiction for this call. Different from other publishers is the focus on women who achieve a lot often in diffiuclt settings.

We are quite conventional in what we accpet for children's fiction However, we don't care how well known the author is either as a writer or in any other field. We're just interested in the story.

We are a progressive and inclusive publisher of YA speculative fiction in text and audio. What sets us apart is our support of younger authors - we have specific submissions windows just for teenage writers, and try to offer helpful feedback to new authors.

We go for stories with a strong voice and a solid story. We quite like open endings.

We accept many stories from fledgling writers.

We are into obscure writing that captivates a reader. Something weird; something strange; something soul destroying; something horrifying.

Apex emphasizes strange and surreal stories, whether in the language or the character or the setting. Apex stories make you feel, make you think, and are beautifully written - we want to shock you in the best way possible.

At Tadpole Press, we focus on building community and making writing accessible and diverse. This means that we host several Community Write-Ins leading up to each contest deadline where writers from around the world come together to learn, grow, and write. And our contest is open to writers of all ages.

We come from a DiY music background and utilize similar community ethics with our press

There are a lot of venues that publish horror and weird fiction, a few that publish innovative fiction but very few that publish work at the intersection of these two fields.
There have been a few venues in the past that focused on this sort of work but, as far as we are aware, we are the only venue publishing this sort of work, in the short form, right now.

I believe we are the only publisher whose focus is on fiction and non-fiction books for readers in K-8 with a civics theme.

We invite our contributors to experiment, and as such, our archive is a melting pot of styles and genres, featuring from Noh theatre performance to comics, from photo-essays to original compositions, along with more conventional, but equally intriguing pieces of prose and verse.

The Loyalhanna Review presents a wonderful variety of short stories, poetry, and art/photography. Content has generally been selected from unpublished authors and artists native to Western Pennsylvania. However, thanks to our online presence, we have garnered submissions from many other states and countries.

Inch is special in that it compresses beautiful writing into a small format. We read generously but don't compromise on craft and we are committed to championing our authors (who could be emerging or established writers). We love to discover fresh voices, and support writers from communities whose voices have been previously suppressed.

I'm in a small niche of publications that invite digitally-inflected work, but what sets re•mediate apart is that it broadly construes this inflection. I'm not *just taking AI-generated poetry, or *just computational work (thanks to Monica Storss for the encouragement on this issue).
Re•mediate recognizes that if you're on TikTok too much, your language is inflected by that— in the words of my prof. Mel Stanfill, some writers have "Tumblr accents", and Re•mediate welcomes writing cognizant of its linguistic positionality. At the same time, we're really excited to publish folks who want to make their poetry kinetic, who have used publishing software to overlay or concretize their writing— work that bucks left-alignment, linearity, and so on.
We also want to platform visual work: VR and AR poetry, video and audio exhibits, and so on.

Being affiliated with a university, and with an editorial team comprised solely of people who have studied literature and literary criticism at an M.A. level and beyond, we believe we can properly discern between quality and cliche, between potential and actual. Moreover, we have an excellent and world-renowned advisory editorial board with whom we can discuss editorial decisions that prevent us from becoming too insular in our decision processes.

The exceptional quality of the writing (including the characterization, stakes and eroticism), the attention to detail in editing (at all stages of the process) and the personal communication and feedback we give all our authors.

I do not know of any publications similar to ours. We are an interdisciplinary "daily" periodical featuring a myriad of arts. Our unique annual Expos call for creative submissions in art, poetry, literature, and other artistic disciplines and often combine those to complement each other. Honestly, we've been told that this approach should not work, but this is our 10th Anniversary and it has been quite a blast.

A multiplicity of viewpoints from a global and often globetrotting masthead. From the very beginning of Panorama, we’ve had a truly diverse mix of authors, editors, senior executive team, regional champions, authors and readership hailing from countries as diverse as Kenya, Nigeria, Uganda, Tajikistan, Iran, Yemen, USA, UK, and more. We’re keen to champion authors from many backgrounds, regions, and careers. A diversity of people, place, form, and voice. Focusing on the world and writers outside of the U.S. There are no "best of" lists or any lists at all. These are stories about accessing the self through travel.

I think we are truly the most diverse when it comes to literary genres/forms, the definition of travel, and international representation.

We have a long history we're trying to honor—but also, anywhere from 50% to 75% of the magazine is coming from slush, and is decided upon by our cohort of student editors. So, an ideal issue, to us, is a mix of tradition and experimentation.

There are other publications that are love themed, but they focus on ALL types of love - familial, friendship, the love of pets, etc., along with romantic love. The closest to Micromance is much more exclusive, publishing 1000 word genre romance stories only. At Micromance we are the only flash fiction lit mag 100% focused on what we call Love Lit - romance of all sub genres, literary love stories, women's fiction/chick lit with an emphasis on love, and, of course, we accept romantic poetry. As EIC, I work closely with contributors, actively promote contributors and the magazine, and do my best to create a supportive community of readers and writers. We are open to writers of all skill levels, writing experiences and backgrounds, and have been the first publication credit for several writers, and the first romance credit for several others. I have also founded The Cupid Prize for Excellence in Love Lit to both celebrate and bring awareness to flash romance and its writers. We also ranked 4th in Chill Subs 2024 Community Favorites for the Flash Fiction category, drastically setting us apart from similar publications.

The vibe at Unsolicited Press is rebellious, relentless, and philanthropic. All of the net profit is funneled back into the business to maintain operations. Additionally, we love supporting non-profits that are doing so much good by donating a portion of our proceeds to support their missions. We embrace being quirky and love helping authors launch and/or further their writing careers.

With Moonday Mag, I hope to elevate the idea of genre fiction. When I worked in an independent bookstore, "fantasy and sci-fi" went almost hand-in-hand with "young adult" which cut off entire speculative genres from potential readers. I've even noticed that other magazines publishing similar work tend to narrow in on very specific subjects, such as only mythology or only urban fantasy. There are many wonderful speculative magazines, but Moonday Mag aims to be a speculative literary magazine. This doesn't mean a 1% acceptance rate, but rather just a closer curation of our issues. We look for pieces that absolutely transport us, but also inspire us to be better readers and writers. Age, gender, background, and location do not matter here, as long as your work demands our undivided attention. We're at home on the shelf with other traditional literary magazines, but we happen to enjoy the magical and macabre parts of life.

We evaluate all work based on the same criteria: clarity, originality, style and voice. By keeping this formula simple, we are able to identify the pieces that speak to our mission of augmenting authentic and diverse voices.

What makes The Cawnpore Magazine truly special is that it’s entirely student-led. It’s not just a publication it’s a platform where young voices can shine, experiment, and grow. We focus on curating pieces that resonate with real emotions and experiences, rather than following trends. We also embrace diversity not just in the kind of content we publish but also in the perspectives we bring together. Whether it’s a heartfelt poem, a bold story, or a artwork.
More than anything, we strive to build a community. It’s not just about publishing it’s about connecting people who love stories, poetry, and art and giving them a space where they feel heard and inspired and also we aim to bridge cultural roots with modern creativity

We have no rules, really, about what you can or can't submit within the word countrs. We're open to anything, including hybrid works.

We publish only stories set in a galactic empire of the distant future that has developed a "Deep-level" technology inspired by Bohmian physics.

Channel operates on the understanding that all writing can to some extent be called eco-writing, in the sense that all human thought and language is shaped by engagement with the world beyond humankind. The work we publish isn't limited by traditional definitions of eco-writing or nature writing, which is in any case a genre that's been defined and redefined countless times over the centuries – we're interested in writing of any sort that takes that universal seed of connection to the living world as a creative source and runs with it, exploring new ways of inviting an aspect of nature onto the page whether as character, setting, image or metaphor.
We're also interested in disrupting the history of the nature writing genre as a space that has traditionally been dominated by a narrow canon of white, middle-class, able-bodied, cisgender and heteronormative voices. We believe that meaningful creative engagement with today's global climate and biodiversity crises requires an ambitious coming together across geographical and cultural lines. Channel's creative team has always been queer-led, we have a strong history of bringing the work of Irish writers together with work from the African continent, Central and South America, India and elsewhere, and we're constantly seeking to expand the range of cultural touchpoints that inform our work.

The e-zine contains humorous pieces from any genre (fantasy, sci-fi, mystery / thrillers, even horror) as well as humorous poetry and short plays. It is also the digital personification of a sentient crocodile, hence the title.

We publish engaging, relatable poetry, short fiction and flash fiction that has numerous layers and hits the reader in unexpected ways. Also, our presentation of the work is top notch via the photos we put with each piece in our weekly spotlight as well as our bi-annual digital magazine, Hidden Peak Review.

We publish works that do not conform to the linear and binary style of writing, exploring new aspects of familiar themes. We are also extraordinarily receptive to new writers.

ER is more willing to take risks than other comparably popular publications. Commitment to social justice integral to our editorial outlook.

Marble Press only publishes highly curated materials. We mostly accept agency submissions, but occasionally we publish from unrepresented authors too.

Our publishing style isn't necessarily traditional. We're not all about curation, though we still proudly feature a curated lineup of poets, writers, and artists.
We also publish issues sloppy style, meaning the first X amount of submitters get published. While there's nothing wrong with curation, we also believe that it doesn't have to be the only way. We treat a call for these kinds of issues as an invitation to collaborate with each other. It's a lot of fun.
On October 17th, we open for a contest that's free to submit to! Check out the details on our 'Submit' page.

Two main things: one, thoughtful web design that puts the spotlight on authors and their work. And two, we don't have submission windows. If we read something we like, we publish it quickly. Why make contributors wait and wait and wait? They've already put so much into the work itself. It's our view that the publisher should take it from there.

Histria Books publishes in a broad range of categories, rather than just one particular niche. Our strong international focus helps to set us apart. We have authors from every inhabited continent, and our books are distributed worldwide.

I admire any publication brave enough to publish comedy, however Eggplant Emoji is different from other comedy publications because instead of premise-based or headline-based pieces, we focus on character-driven stories with a beginning, middle, and end. Most comedy publications cap their word count at 1,000 words, but that is the minimum word count for Eggplant Emoji because at least a couple thousand words are necessary to tell a whole story. Other big differences are that we publish a physical book and we pay authors.

We don't care about genre or anything related to the author (their pedigree or lack there of, diversity or lack there of). Here, it's all about merit: writing the best stories and pushing the boundaries of what an author can do with their own imagination, creativity, and skill.

A hidden agenda apparently random. It factor. Some arbitrary synergy of earnest naiveté and curiosity and fondness for language and story.

Fahmidan Journal is serious about diversity in action. We don't believe in the tokenistic inclusion of minorities but believe instead, in publishing the writing of all who submit their very best to us. We often find ourselves publishing the writing that those currently in control of the literary world, consider too deep, too non-western, too difficult and frank in a literary community saturated with the same voices getting the same prizes and the same aegism that permeats this community. We don't care if you're 18 or 85, we care that your writing is meaningful, punchy and makes us want to read more and more!

We have a strict focus on no/low-technology settings with a preference for stories that take place out in nature. Our stories feature no combat, violence, etc. We really strive to be about connection: to each other, to the world/nature, to our communities.

Our inclusion of pedagogy papers and our Teachers' Lounge. Our "tip jar" links.

DIHP strives to share meaningful work with the world, but to also
1. Foster a community of writers whose work doesn't always neatly fit into genre boxes.
2. Highlight writers and their work, thoughtfully pairing pieces with art and a celebration of individual pieces.
3. Deepen the connection between writers and editors, carefully tending each piece that crosses our desks.

We only publish high-quality fiction or poetry that breaks new ground.

There are few publications, if any, that are willing to feature innovative and uncompromising works. Some publications pay lip service to this idea without reaching beyond the usual parameters. The Collidescope is also willing to publish writing of any length instead of the measly several thousand words or so that other publications restrict submissions to.

The combination of traditional genre plots with LGBT+ protagonists.

My inconstancy: I started Mauvaise Graine in Great-Britain, then I moved to France, where the publication stopped for two years before it resuscitated under the name mgversion2>datura. It stopped again and became Datura with a fresh start from number 0.
Datura wants to go back to the original creed: "What I want from the work I read is that it traumatizes me, tortures me or makes me laugh, disturbs me in fact. There is nothing more dreadful than some sterile work which will leave no trace upon you, apart from the need to read something else."
Urtica does the same but on a blog.
Beakful is more mainstream.
Besides, I used to translate the texts in one or the other language (French/English).
Eventually, it has always been a publication opened to world-literature. From the start, in 1996, I published American, British, French, Indian poets. The variety of origins has only widen since then.

We are in a unique situation in that English-language literary journals are a rarity in Bangladesh. Add in the fact that we are the first English-language speculative fiction magazine of the country, it feels as though we operate within a niche of a niche. But the response we have gotten has by and large amazed me. We have received such amazing submissions and support from our community, that it confirms to me that there is something universal in the love and consumption for speculative literature—a genre that has seen a decline in Bangali writing over the last few years.
One of my main goals as an editor has been to bring this genre, which has always been so dear to me, back up to where I feel it belongs. I love nothing more than when the distinctions between high art and low art become impossibly blurred. What I feel sets Small World City apart truly is our distinctive voice in this matter. The goal I just stated is one shared by virtually all spec-lit magazines, but every voice has to be its own; and through our magazine I'd like to think Bangladesh and the Bangali people are starting to raise theirs.

Centaur doesn't publish the most or the most frequently. Instead, it gives a home to just a handful of pieces and writers each quarter, and then goes all in with a bookstore showing off the author's titles, recordings of them reading their work, and heavy promotion of the pieces on social media.

We publish beautiful, experience-infused writing exemplifying respect for the diversity of and interconnection between the world’s faith traditions.

Gryllus is a one-man operation! The DIY ethos is crucial; Gryllus Magazine & Hobby Horse Press were formed as a reaction to the slow collapse of the old institutions. Your work will be lovingly sculpted to the best possible version of itself.

We consider hybrid and as yet unseen forms, and shift our preferences to include what we discover.

We are a journal about environment in every sense of the word. Beginning at birth, each of us is bound to our environment. From pollution of the earth to pollution of the mind to server farm statistics to gardening on Mars… We’d publish a modernized rendition of War and Peace, follow that up with a pretty haiku about flowers, and the next minute release some weird sci-fi in the vein of Flowers for Algernon—so long as at the heart of each is a deep concern for the world around us. That’s what we want to highlight: stories and poems about "Us" and not "Me". It’s "We", in any case. We are in this together, for better or worse. Our approach (and what we look for in the work we publish) is thinking outside of one’s self, beyond the immediate, considering the future our actions today dictate. Additionally, we aim to highlight the Midwest United States and the Ozarks region, specifically. We are environmental advocates who wish to start a conversation the world keeps putting off having—and would keep putting off until it’s too late.

- We welcome returning submitters
- We welcome self-promotion of contributor's work
- We welcome submitters sharing as much or as little as they want about their work
- We welcome layout & design wishes
- We welcome previously published work

Because we only publish a few titles a year, we are able to give each one the attention it deserves. This means we are rigorous with our editing, thoughtful in our design, and responsive to our authors.

Two things set us apart: our focus on writers in the New Jersey, New York, Pennsylvania tri-state area, and our commitment to using our publication to build communities of writers in our region. In addition to showcasing work by established writers, we publish new and emerging voices, including promising work from high school students.

We like to think we do a particularly fine job of curating our line -- selecting the very best material to publish -- and that our books look uniquely handsome, with their hand-painted cover art. But show me a parent who doesn't think their baby is the cutest.

We care about ongoing relationships with writers. We don't care about bios/degrees/five dollar words. We give sincere, succinct rejection letters that don't create false hope or make you go, "Geez, if you think it's so great, then why not publish it?!?!?!"

Our publication is committed to a Creator first approach. All works published are creator owned and we are merely a portal to them, so we retain no rights post publication to ensure that remains such. We also have in house artists who provide each piece with accompanying art as relevant to prose and poems regardless of size to give them that extra pop!

We are based out of a small town in rural West Michigan and are run by a local writers group with the support of our community arts center.

We pay a small stipend for the stories we publish. That stipend comes from my pocket.

We publish writing and artwork created in response to an age of massive species loss and ecological collapse. We are especially interested in "othered" ways of knowing: e.g. dreams, visions, communications with the nonhuman world and with ancestors, especially those with messages for how we might begin to heal our broken relationship to the earth.
Before each issue appears, the principal contributors gather on zoom for a conversation about each others' work that the editors then shape into an editorial. These conversations have been passionate and often revelatory and have generated deep and lasting connections.

We look exclusively for cowboy and western-themed poems and short stories.

Night to Dawn features artists like Marge Simon, Sandy DeLuca, and Denny Marshall. I try to introduce new authors in each issue and work with contributors on rewrites.

In my view, Annulet offers both invitation and welcome to those readers who write critically, and writers who read critically. The reality that I know as a poet, critic, and scholar, is that each of these practices aren't as separable as traditional boundaries would have it, and Annulet is a journal that revels in how these forms weave in and around each other. Though our essays in particular are scholarly at heart, they're distinctly fun, or too weird for peer review, in practice. Sometimes the most interesting insights and observations don't make it through the strict parameters of scholarship or criticism: Annulet values these just as much, if not more, than being technically perfect. When reading poetry and prose submissions, I read historically—I'm looking to see how work might fit or extend its respective lineage, as I see it (whether conscious or unconscious on the writer's part!), and how that work represents what's happening in poetry or prose at this very moment, too. Particularly the poetry we publish is very conscious of form, in its visual rhetoric and relations as well as how it attends to the thought or feeling the poem is following. We probably have an alarmingly weird standard for prose: most often we're not looking for bread-and-butter fiction, if you will—its vision and language must be as important to the story or text as the events that may or may not take place. In sum: we like work that you think might be too weird to be published, but is both more and less weird than you expect.

1. Our editorial board is composed of students at Asnuntuck Community College. The work on Freshwater Literary Journal is part of a two-semester, credit-bearing course. 2. We primarily publish in print but also make the journal available online through ISSU. 3. We do one yearly issue.

Unlike many online publications nowadays, Mulberry Literary does not have a theme, a niche, or a specific genre we publish. Our magazine is a home for anything and everything. We pride ourselves on publishing a large and boundless variety of work that cannot be constrained by a simple genre or name.

We're not looking for quantity, but quality, so we publish irregularly. We also try to grow organically, through word of mouth so to speak. In this way, water finds its level.

Rather than centering on one theme, Fireworks aims to capture one level of emotion (hence our love of "explosive" stories). While our writers and characters span countries, ages, and interests, they all grab readers' attention with their engaging tales.

We are devoted to excellent work in print, so we are committed to a design that speaks to the contents within. The look and feel of our issues will always reflect the natural world and human hands that made them. And then there's the regional roots and national sway of the poetry, fiction, essays, and comic art inside. The editors at SWING approach their work of selection as one of mapping the cultural zeitgeist, which begins in the American South, a place of contradiction and complication, difference and dialogue. We might begin in Nashville, but who knows where our writers will take us. The first issue reached into Canada, Texas, Alaska, England, and the other world of speculative fiction. SWING's editors and staff are nearly all writers themselves.

More than just a literary magazine, The Metaworker is a collective of creatives, proud to use their unique experiences to help represent diverse voices from a global perspective. The works here aren’t made to order from industry standards, instead this magazine shows the marks of the craftsman's tools, sometimes a little rough around the edges but still one of a kind works.

Big Other publishes unruly fiction, poetry, and nonfiction that realizes William Carlos Williams's assertion that "beauty is a defiance of authority."

The global reach is what sets samfiftyfour apart. We have published work from over 50 countries and you can find physical copies all over the world. We are also more willing to publish new writers with little or no previous publications.

We've been going for more than forty years; no other publication has that depth of experience, or has given so many significant Scottish writers their first break into print. We accept material from people resident in Scotland, or Scots by birth, upbringing or inclination, and publish material written in any of the languages of Scotland (English, Scots-English, Scots, Gaelic, Scots-Urdu, etc.)

Our online aesthetic is very different than traditional literary magazines and publishing houses. Our publishing house and online literary site share a similar minimalist look that pops. Unlike other publishing houses, we've designed our books and website to reflect 21st-century writing. Most of our writers do not have MFAs and therefore have very different styles of writing that appeal to new readers.

We regularly publish a wider swath of literary and literary related materials (including drama and visual art) than most other journals. We also pay as much attention to language as we do content. We like work that bends genre and takes risks with form.

As far as we know, there is no one who publishes similar material. We find we are most excited about submissions from those who find the website (and listen to the podcast; https://www.afterdinnerconversation.com/podcast) and craft a story geared towards the thing we do. If you have a story you previously wrote you are shopping around, it's tough to get a foot in the door. It's possible, but it's tough. Most of the people we publish have a background in philosophy, economics, technology, or political theory and just happen to also be writers.

In addition to publishing talented emerging and established writers, The Cincinnati Review is unique in that we also publish a full-color art portfolio and a short play or play excerpt in each issue. We have a weekly online flash feature (miCRo) and other special web features, and we pay contributors but have no submission fees.

In addition to trying to create an incredibly diverse and varied literary palette by publishing poetry, micro, short and longer prose, drama, hybrid genres, and visual art without any significant formal constraints, we also place great emphasis on community building. We genuinely believe everyone deserves the opportunity to showcase their talents regardless of background, identity, or affiliation. In this way, The Globe Review will always be a safe space for anyone who wants to share their passion for literature and the arts with the world because what really matters to us is creativity and undeniable talent. We will gladly be home to hitherto hidden life stories, moving poems, and all that is important to our writers.

We care deeply about the pieces we publish and the artists themselves. We offer a caring and respectful environment by always communicating with the creators and listening to them.
Each issue creates its own story by linking the written pieces with artwork.

Our blog is mostly written by our core editors, and what our team offers is industry expertise. Many of us are award-winning writers, and we also have a number of PhDs and masters degrees in the mix, as well as publishing and agenting experience.

We are dedicated to the writer and carefully curate each issue. We don't charge any money for submissions, we pay $100 per acceptance, and each story is accompanied by original artwork and audio by professional voice actors.

We are nonprofit group of caring writers who often give feedback or editing suggestions to writers who have talent but didn't quite make acceptance. We know how it feels to be rejected. That is the real life of a writer, but if it's a matter of editing, why not help them along their way somewhere else?

WWPH is a 48-year old cooperative press —all our members pay it forward by publishing with the press (winning one of our three contests in poetry, fiction, or creative non fiction and then volunteering for at least two years with the press, though many stay on longer!) We also are a regional press —publishing only writers from DC, Maryland and Virginia. Like many small presses, we are a literary press, though, we widely define that—we are looking for complex characters, a strong sense of place, and voices that are diverse and inclusive.

Of all publications, SORTES is the most like itself. Yes, fine, that may be hyperbole: there may be publications more SORTES-like than SORTES, but I still insist we're probably in the top ten.

All of our creative publications include an author's note by the contributor.
These notes are mini essays on writing craft, and our readers love them!

We are genre-agnostic in every sense of the term. With prose, most of our past issues have a mix of creative non-fiction, literary realism, and speculative--and we'd love to publish stories in other genres, too! Those are just the main things that get submitted to us. We consider the same full gamut when it comes to poetry and visual narratives, and we love publishing hybrid, cross-genre, and other work that lives in the borderlands and is hard to label.

We feel that no other publication offers such a variety of literary genres and visual art on a single platter. The Podcast and Montage segment add a distinct audio-visual flavour to our magazine. Our Team works hard to ensure that our works are creative, literary and aesthetic. Probably our most attractive feature is the manner in which we showcase our content with creative & aesthetic design layouts.

Anthropology and Humanism is unique in publishing multiple peer-reviewed anthropological writing genres that center the experiences and voices of individuals.

We are truly the only one of our kind, again we are all things barroom , but we publish everything about the nightlife and show many different sides.
And the fact we publish daily.
We are open to all writers first timers and established we give everyone a fair chance.

We concentrate on literary publication from Delaware authors and poets, and those in close vicinity. We also review elements from Delaware's literary past, often subjecting them to critical thinking.

We love to promote our contributors. This includes artist interviews on our site and a "meet the contributor" series on our Instagram account. On Instagram (hi, I'm the one that runs the account :) ) I try to like and share our contributors' works both in and out of our magazine.

Since we're currently a regional/niche magazine, the sense of community is very important to us, and one of the foundational tenets of community is communication. We try to engage and communicate often with writers throughout the submission and publication process, including talking with a feature writer for each issue in an interview format. For many indie writers, it can be a challenge trying to promote and get your work out there, and we try to do that and lift each of our writers.

Our championing of fearless, revolutionary writing without regard for the dictums of marketability or commercialism.

We try to be a bit more approachable than some of our larger literary brothers and sisters. Sending out work is hard, receiving rejections is even harder. If we can serve as a gentler option for those early steps in writers' lives, we feel like we've accomplished something worthwhile.

A hard question to answer, and anything offered can only suggest that similar publications are lacking this. Tiny Molecules has a dedicated team of readers and editors, who take their time with each submission. Stories and essays sent to us are often read by at least three of us, and discussed at length.
We publish work that is first and foremost confident in its language and imagery. This of course doesn't mean a certain kind of story or essay, but only that the writer had complete belief in their own story. This always comes through and it tends to be the work we publish in our seasonal issues, and at Observations.

We publish original mystery and crime fiction. We look for variety--noir and cozy, suspense and humorous, very short to novella length--so each issue is fresh and different.

Litbreak celebrates diversity in storytelling and poetry. We feature as much poetry as fiction. Credo: We like writers who both show talent and respect the tradition. We like writers who read. We publish every week. Our interests are planetary but our province is English. We aim to be dissimilar from ourselves.

All of our published work is ekphrastic, loosely defined. We publish creative writing- poetry, fiction, and nonfiction- inspired by visual art.

Burn it all down. Build it back better.

We publish established writers alongside new and up-and-coming talent. Our editors read every submission themselves.

We're very community-orientated. A lot of the Trembling With Fear submitters get in contact with the Horror Tree staff. We try to work together and really deliver a solid story. We've had many writers really flourish working with us over the years and we've seen amazing progress in their work!

People in a neighborhood still read our Journal. The layout is not page by page so we can publish many poems but it is difficult to know exactly how many, and we have varying lengths. Sometimes, we are gritty but not repulsive. Because we mostly accept poems and fiction by mail we often get submissions a "little off the grid" like from prisoners, people who do not use computers, or from local street people who submit in person. The Co-Editors read everything that is submitted to us, rather than having other readers go through the initial submissions. Sometimes we have interns read the next to final selections to give us suggestions on their choices, which we can take or not. Not everything the journal publishes is the opinion of the editors being judged on the quality of the poetry, (but generally our opinions and the poems' match.)

Accessibility, no gatekeeping

We cultivate a dedicated space for aspiring African writers.

We come out of a community college.

We publish exemplary undergraduate poetry and prose. Our publication seeks pieces with heart, grit, and command over language. We are willing to work with writers to help their pieces reach their full potential.

We are a regional publication -- focused on writers from DC, Maryland and Virginia.

In each issue we curate a conversation around a theme of current interest. This allows writers from all over the world to converse through their art in a single moment in time, because about 10-25% of each issue are works in translation. We chose pieces that are particular in such a way as to be universal and timeless.
We use guest editors for each issue, who work alongside our permanent staff, to keep our energy fresh and exciting.
We publish poetry, literary nonfiction, micro fiction, written in English or in English translation (alongside the original language) and all things hybrid. We especially love graphic poetry and nonfiction, photo essays, and art.

The attempt made in each issue not only to present individual poems but to arrange them so as to bring out affinities and suggest a conversation about the world. We are not committed to any particular style, though we are always happy to see good formal poems. We look for poems that have a sense of urgency -- that convince us that they had to be written and are not just literary exercises. A successful humorous poem is also welcome.

We tend to take on new and unestablished writers with a fresh new feel to the writing as well as established writers. We are also open to far out sci fi fantasy short stories, poetry and novels.

No idea. We just want to find and publish inspired writers and artists and give them a viable platform to showcase their work. the Thieving Magpie is keenly interested in being part of a thriving literary community.

Each story leads to the next, either in character, setting, or theme.

In our editorial process, we tend to reward risk-taking. There are plenty of journals out there that publish safe material, but we're looking for stuff that takes chances that pay off.

We publish people internationally from all walks of life. Many of our contributors do not have direct links to the writing or art world (MFAs, etc). And many have been published more than once. We are a community who believes in honest, authentic art that doesn't get too caught up in the noise.

I think our stories tend to breathe most comfortably in the spaces between genres.

Ninety-nine percent of our poetry comes from submissions. Our readers are all published poets with varying tastes. We often debate poems into the magazine during our editorial meetings.

We have an annual theme, which means we have a longer time than other magazines (whose themes, if they have them, tend to be quarterly) to explore themes in depth and from a variety of perspectives. We also host a podcast that enables us to explore our themes in a different format. We seek common ground, especially between the three main Christian traditions of Orthodox, Catholic and Protestant. While we are a literary magazine, we also share works in other media, including music and fine art.

We publish writing and art that reflects the beauty and uniqueness of the Finger Lakes in western New York.

We're a nonprofit, which gives us the freedom to publish books because they deserve it and they're damn good, not because we think they're commercial. A lot of our books are challenging - they ask the reader to work for it, to delve deep into the language and wrestle with an entirely new story structure. That's the kind of work we want to be putting into the world.

We're interested in exploring a wide range of eco-writing, writing about animals, and work in translation--we don't have predetermined ideas about what nature/environmental writing should look like. We're always striving for diversity in our editorial team and the works we publish.

We are not genre specific. We aim to publish exemplary writing across the spectrum.

Our tastes are wide and varied. We are committed to finding work that surprises us, whether that means work that is experimental or that subtly subverts traditional forms. An important part of that commitment is remaining submission fee free, including for contests. We hope this lack of financial barrier continues to welcome new forms and perspectives in.

We began publishing in 2022, with a goal of publishing the books that we like to read. We know that there is a commercial market for these books, and it is one that is not being served very well by the existing marketplace. Smart military fiction and non-fiction can be hard to find. We're digitally native, nimble, and willing to take a chance.

Our formatting and aesthetic. We are not just an anthology of fiction and poetry. We are an homage to classic 'zines of the 1970s and 1990s. We have horoscopes done by a real moon priestess; there usually is a theme related Cosmo style quiz; we have a column titled "Cities of the Dead" that profiles cemeteries, temples, and weird locations; our EIC writes an opinion piece called The Rabbit Hole that deep dives into an issue related to the theme. We have rotating columnists. We do book and movie reviews. We promote emerging authors and artists. Every issue is an art piece not a profit generating cookie cutter publication. We own ourselves. Advertising is exchanged for exposure to new audiences not money. If EIC likes your work, you're offered a 1/4 page ad in the 'zine, your payment is posting our promo images on your social media when the issue drops. We build up each other's followers.

We publish local Chicago writers as well as global writers who write in English as well as those who are translated (and we run the piece in the original language as well), we publish poetry, fiction, nonfiction, interviews of writers/artists/activists, reviews of small-press lit books as well as books about social/political issues. We publish original artwork with each piece and we publish TWICE a WEEK with virtually no budget. We are just starting to systematically publish excerpts of forthcoming work from small presses. We publish what has literary depth, and we are always looking for work with political/historical/social depth, too.

parAbnormal Magazine showcases the paranormal differently than others, in that it discounts aliens as science fiction or fact and creatures like vampires, zombies, and ghouls as supernatural not paranormal. It deals more with the interaction between the paranormal and the human mind, the human psyche at odds with the unknown.

1) The anthology our winners are published in: "L. Ron Hubbard Presents Writers of the Future Volume ____" is a national bestseller annually. Often getting a "starred review" from Publishers Weekly. It truly is a stepping stone for careers. We've launched 14 New York Times bestsellers careers so far and hundreds of bestseller careers. We are currently in our 39th year (2022).
2) The other major difference is that we have several tools available to help you become a professional. We have a free 20-hour writing workshop taught by 4 New York Times bestselling authors that you do at your own pace (pre-recorded interviews) etc.
We have a national award nominated podcast with interviews of professionals in the field that can give you insite in areas of the field you aren't even aware of
We have a blog with dozens of helpful articles
3) Our winners are flown to Los Angeles, given a week-long workshop by our judges and a lavish awards ceremony on top of everything else. We pay! (no matter where you live on the planet) Not only do you get our award money (prizes are listed on our listing in Duotrope) but you also get paid to be in the anthology.

The quantity, quality, and diversity of our work

Well, all we are concerned with is the fire.

Coin-Operated Press is a social enterprise owned and operated by two queer creators. We work primarily with folks from the LGBTQ+ community, and those with chronic illness and disability. We publish collaborative zines once a month, which features many artists, writers, photographers, and other creatives; and we also host many monthly zine-making workshops in Edinburgh and Dundee. We have partnered with other social enterprises and charities around Scotland, including Blunt Knife Co. The Salisbury Centre, Children's Health Scotland, Edinburgh Pride, and Freya's Wish. We are looking forward to working with LGBT Health Scotland and Feeling Strong in the coming months.

We are a small quarterly, you can fit us in your pocket, editors work closely on submissions. We can give your work TLC. Every poetry submission is also considered for our podcast.

Radon has found no other publisher producing similar content. We also have paid our authors from the day we launched. We pride ourselves on being an eclectic mix of niches and micro-niches who introduce new concepts to readers. Our four goals are: 1) Elevate science fiction to a new echelon within the literary canon. 2) Inject inclusion and diversity to previously male-dominated genres. 3) Educate the public on the philosophy of anarchism and its positive ramifications. 4) Show the world the concept of transhumanism and what it means for humanity's future.

While I haven't seen other professional publications advocate as vehemently for literary speculative fiction, other publications certainly publish it, if not as many as I would like. There are many fewer that focus on flash fiction, the ability to make a complete artistic statement in a short amount of words, but there are others, like Daily Science Fiction and Flash Fiction Online. What I'd say separates this publication from those is 1) the greater focus on sharp, sparkling prose, style and form being as important as the content of the stories, and 2) a love of experimental and daring formats, from novels told in a log or journal format to non-linear storytelling.

Diversity is the Kaidankai's strength. We have stories about the supernatural from around the world and from an array of writers. Whether you write romance or horror, poetry or prose, have a classic or modern style, I'm interested in reading it. Whether you write about ghosts, vampires, monsters or any other supernatural phenomenon, send it to the Kaidankai podcast. The podcast showcases how the subject of the supernatural is suitable for any genre as long as you are creative and tell a good story.

Since its founding, the magazine has run the "The H Word" column, a series of personal perspectives on horror and what horror means to different people. If you study those essays, you'll realize that everyone has a unique relationship to fear and the darker side of life, and that our genres—horror and dark fantasy—can give people the tools to sit with and understand that relationship. Our goal at the magazine is to publish horror for *everyone*. That means publishing the widest possible variety of dark stories, poems, and essays by the widest possible array of creators, and emphasizing work that explores the deep humanity of the genres.

Honestly, I'm not sure. I focus solely on novels, and more specifically on how to open a novel's first page and first chapter in order to grab your reader from the get-go. I love that experiencing of falling into the world of a novel, feeling immediately relaxed in the prose of a capable writer—there's nothing like it!

LISP is unique with its variety of stories and diversity of writers. We do receive submissions from all around the world and writers know that we're open minded. We won't judge their writing style but embrace it. I think that's what makes LISP stand out from the crowd of writing competitions and publications.

Excellent writing is key, and "excellence" includes a diversity consistent with worldwide diversity of fine writers--diversity of age (and thus cohort groups--whose styles, issues, and concerns differ decade by decade), of gender identification (not just males and females--an increasingly useless dichotomy), of geographic location, of literary background (from well-published septuagenarians to recently hatched MFAs of all ages, to beginning writers who've never published before). A close second to excellence in our vision is service, interacting with and congratulating writers and poets by email, in our Editors' Blog, Facebook, and Twitter; making sure they see within days that their submissions are being reviewed, responding quickly when we know a submission is not quite a fit for a given year's issue, and accepting especially good pieces right away so we don't lose them to another journal. When contributors notify us that they've later published books, we feature them in the Editors' Blog.

LEJ travels a continuum of alterity, disparate transfigurative avenues, and the subterfuge of the banal to dissolve boundaries of The Unmentionable in cultures around the globe.

I'm trying to build a community around writing and reading, not just put stuff out into the world for strangers to read. I love that people can feel involved through our writing events and open calls. I also tend to seek people out and request material, rather than just relying on submissions. If I see something I like, I will sometimes ask the writer for more. This is how our first single-author poetry chapbook, All Forgotten Now, by Jennifer Mariani, came about. I loved her poetry and asked if she had enough for a collection. I also work with writers if I want to publish their piece but feel like it's not quite ready. I will send them suggested edits and let them revise and resubmit. I believe in giving feedback where possible (it's impossible to give feedback on every single submission), so the Off Topic Contest gives feedback on every entry too.

Our focus on literature that engages the life of the spirit is unique because we're not affiliated with any specific religious or spiritual tradition or perspective, so we're open to any and all ways of approaching what has traditionally been called "the spirit."

The fact that each story goes with a drink and is therefore suitable for a mid-morning or mid-afternoon break.

We look for poetry, prose, hybrid pieces, and text-art that re-defines what it means to experiment with form and language while maintaining a high standard of quality. We only publish work that surprises us, creeps inside our minds and lives there long after we've left the page.

We publish a story every day, 365 days a year, and we are always open for submissions. We love supporting authors and helping them to refine their craft. We pride ourselves on forging lasting partnerships.

We love the traditional western story, but we are not strictly limited to that era. We have published stories and articles about modern ranches, mysteries, detectives and rodeos. So long as the setting is west of the Mississippi and the themes are appropriate, we're interested. In addition to articles and short stories, we are open to poetry, serials and graphic novels. Our pages feature the work of new talent along with major award-winning writers in every issue.

Our thrust is on avant-garde where the writers imagine against the grain.

We offer three cash prizes that are awarded to the writers of the three best stories in each issue. These are chosen by the readers. We also provide a free (to subscribers) critique service. And we include a lively section for readers' feedback on the previous issue.

We publish five pieces a month. One story, one flash, one poem, one memoir, and one piece of cover artwork. Our less-is-more approach allows us to spend time with each contributor editing and prepping their submission for publication. In addition to our monthly web issues, we also publish in print every other year. Our dedicated Social Media/Marketing Coordinator promotes all contributors and work equally, and we believe in promoting our contributors long after they publish with us.

The Rumpus publishes such a wide variety of writing. We have personal essays, critical essays, interviews, book reviews, film and television reviews, cultural commentary pieces, comics and political cartoons, original fiction, ad soon, original poetry. I think we are unique in the breadth of what we publish, and that we seek to do so without compromising quality.

We care about community. We care about curating the work of a vibrant and active Italian-American voices. We think that a journal devoted to the work of Italian-Americans will not only help us to showcase the many talents of Italian-Americans, but is generative of creative work, as well.

We're not looking for fiction that is simply set within historical time period. We're looking for fiction that is deeply rooted in a time and place, and one that is based on real events and people. It should be rooted in research and have an important lesson about the historical events and people it represents. Furthermore, our novels include reference materials that other fiction novels do not.

We publish multimedia pieces (music and dance videos) directly within our magazine. We pair pieces of varying art forms but similar themes in order to juxtapose two means of creativity and interpretation. We think it is beautiful how a certain movement in a dance piece can hold an underlying meaning similar to punctuation in a poem or instrument choice in a song. It is rare to find a full collection that represents the entire creative spectrum, and we are proud to bring multimedia arts to a level playing field with traditionally published work.

The Worcester Review includes both creative writing and critical writing (on an aspect of Central Massachusetts literary/cultural history) in each issue. Our editors have eclectic tastes and varied backgrounds, so TWR features varied and eclectic work. We're always delighted to publish new and emerging writers.

Interesting question. We probably receive much the same submissions as other micro pubs, so the distinction would have to be the predilections and biases of we editors. For better or worse we set the tone, the curtain in front of which the authors are on display.

Any publication of winning stories is as good as quality of the top stories - something we have no control over. Our winning three stories are always original, beautifully written and compelling. Many entries qualify, and readers may not always agree with our judges' choices, but no once can deny the excellence of the story itself.

On the prose side, we work very closely with authors on revision, often making a shape-based revision request for a piece that's not quite right but holds our interest, followed by detailed line edits, prior to acceptance or declination. The attention of our readers is precious. We do not shy away from complex or strange material, or that with an element of genre.

We welcome novice writers, like to give everyone a fair chance.
We have tried to stay as pure as possible not giving into social media. We have no FB or Twitter pages.
We will not publish poetry or much prose with a lot of usefless f-bombs.
Absolutely detest pieces about violence or suicide, bigotry, etc.

Our focus is to accept material that reflects the sparseness of the desert around us. The work we accept does NOT have to have the theme of desert - that would make for a very boring litmag. The work simply has to move at a steady, unrushed pace and leave lots of space for the reader's mind to appreciate the material they are reading. There are many great urban magazines that publish fast-paced and sophisticated imagery that reflects city spaces. Think of us as a rural desert, because that's where we're located. Our tastes are world wide, having published work from Africa, Europe, Asia, and South America - that's not unusual because each of these great areas have deserts of there own. Add to that our deep held belief that all humans have a place within their mind that resembles the desert and craves for the solitude of the desert. So, if you happen to be living in a metropolis - that fact would net keep you from being published here. If you write a piece that finds that place in your mind satisfied, then please feel free to submit it here.

When you read a book from Timber Ghost Press you know it is going to be weird, creepy, or disturbing. It's going to make you think and it may not always fit inside of a category easily.

We envisioned a community where writers and artists would be invited to publish solely based on the merit of their writing and creative skills. The Wingless Dreamer community connects all essences of writing, illustrating, editing, marketing, and promoting on a single platform so that authors and illustrators don’t have to go through the hardships of the publishing processes and focus on their work. The Community members become part of the family and are guided, supported, and encouraged on every step they make towards their writing or art career. Wingless Dreamer Publisher provides free critiques, reviews, marketing, and in some cases funding for our community member's work.

I can do no better than to quote The Boston Globe in their review of our "21st Century Ghost Stories" print anthology: "The collection is strange and smart and upends ideas of what a ghost story is, and expands, with verve and unsettling bizarrity, what it can be." We anthologize all of the winners and honorable mentions in our two biannual literary competitions—one for full-length short stories, one for flash fiction—and in judging our competitions, we search for pieces that not only contain a supernatural theme or element, but also feature fine writing and some insight into the human condition. We first publish the stories online and then, in cooperation with Wyrd Harvest Press (Durham, U.K.) we publish a new volume of the paperbound anthology series every three years.

We try to find a balance for each issue between both lengths and styles of writing. There is a lot that can be done under the umbrella of "hardboiled" or "noir", and many people fall for the mistaken belief that it can only be done one way. In each issue, we try to bring together a mix of stories from different authors of different styles showcasing both their differences and their similarities.

I think the attention we give to our writers is unique. I mentioned in another answer how we have art for every piece. But we also give personal feedback to all of the essays and fiction pieces. I've tried to treat The Twin Bill as the place that I, as a writer, would want to submit. I think we also are interested in more than just the game. We want stories of the writers and their relationship to baseball.

Reed Magazine, established in 1867, is California's oldest literary journal. For over 150 years, Reed Magazine has published the work of artists whose narrative voices persist beyond the page, whose imagery lingers in our minds, and whose language challenges us to think, to do, to be part of the creative legacy of our time.

Cavar: Honestly, I love that we're not the only magazine focused on publishing queer, trans, and disabled writers. The more, the merrier. That said, I think that our titular focus on Madness sets SoM apart from others: even within disability communities, Mad experiences, irrational ones, ones whose textualization "makes no sense" –– these are often condemned or overlooked, especially when the Mad person is LGBTQ. At SoM, we're trying to provide a space for the difficult-to-categorize, the painful, and the messy, the Mad, in a way that challenges readers and writers to think outside their own experiences and into a new world of possibilities.

Tales to Terrify is among the oldest and most well-established horror podcasts, and we're proud take have accomplished that with a very simple production style – straight audiobook-style narrations without any music, sound effects or adornments.

We are open to a wide range of styles, perspectives, and genres. However, we are quite primarily seeking work that opens new doors for ourselves and our readers. We seek real, raw, and resilient writing that unveils a new identity for both the author and the reader. What sets us apart is our versatility and purpose to open the door that lays between history and the future.

We like to think that we don't really publish similar material to anyone else. Our books are all unlike.

Quick response.
Written response to rejections.
Accept about 48% of submissions.
Monthly Issues.
No fees.
Artwork assigned to each acceptance

--Although we are based in the United States, our contests are open internationally--and we have had winners from outside the US. All submissions, however, must be in the English language.
--The top three winners receive cash and publication. The first-place winning story is considered for inclusion in our bi-annual anthology of short stories, while second and third-place winners are offered publication in our quarterly literary journal, Bethlehem Writers Roundtable. Our --Honorable Mentions are also frequently offered publication in Bethlehem Writers Roundtable.
--Our themes change every two years, so we run the competition on the same theme twice. This gives those whose work didn't win the first year a chance to revise their story and submit it again. (N.B. no story may be submitted more than twice.)
--Our anthologies have nearly always won or been finalists in international book award competitions.

The on-going mission of Luna Station Quarterly is to display the vast and varied talents of women-identified speculative fiction writers.

We're one of the few SFF publications with a nonfiction magazine that publishes pop culture reviews, interviews, and essays. We publish small books such as short story collections, novellas, poetry collections, and chapbooks.

Our mission. We're on a mission to empower women through storytelling. That doesn't just mean the writer who tells the story, that means women who read the stories as well. Our goal from the beginning has been to get women talking and sharing their stories. We don't shy away from hard stuff. We talk about pregnancy loss, abortions, sexual violence, faith, grief, and other subjects that are so often deemed taboo because we want women to read those stories and see that they are not alone. That there are other out there who can relate. We want women to read the stories on our site and maybe, just maybe, find their own voice.

We are the the largest very focussed on all things Holmes - there are other great publishers (like Titan for example) that do some Holmes, but we deliver dozens of books every year and have a HUGE backlist of over 500 titles now.

We are staffed by grads of WVWC’s low-res MFA program — all serious poets & authors & editors ourselves (as well as some teachers/professors) who seek to publish work that is nuanced and well-crafted, as well as intentionally revised and publication-ready.

We're set apart by the fact that we care and legitimately love the writing we see come through our submission form. It's a bit of a shame we can't talk to everyone who submits to phoebe because there are so many writers doing worthwhile writing that a rejection just doesn't acknowledge at all. We're all readers, writers, and generally fans of literature, and I think we need to remember that: we're all fans and should celebrate each other as much as possible.

One of our contributors remarked that we are responsive and approachable. We publish emerging authors as well as professionals.

We don't seek professional writers, parenting experts or opinions. We focus solely on the everyday mom who needs a place to rant, laugh, cry, share, encourage, etc.

Mythaxis is a different beast from what it was under it's original editor, Gil Williams, but I believe we still hold true to his core principle: to present good writing with a minimum of distraction, in particular no advertising. All stories are complemented (hopefully) by a piece of original artwork, and if authors request it we attempt to provide some degree of constructive criticism in the event that we do not accept a submission. We are always open to the experimental, but we are very much a market for storytellers first, wordsmiths second.

In every issue, we spotlight and interview a literary star in Africa who has published, at least, one book on creative African literature.

We also have one-minute podcasts for every work published on each issue of the magazine.

We are the longest-running flash fiction magazine on the planet, in continual publication since 2000. Our contributors include Steve Almond, Katharine Weber, Mike Resnick, Aimee Bender, Sam Lipsyte, Kirk Nesset, Judith Cofer, Bruce Boston, Robert Boswell, Bruce Holland Rogers, Michelle Richmond, Liz Rosenberg, Stuart Dybek, Robert Olen Butler, and Pamela Painter, and many, many others. Our stories have been reprinted widely.

We've been serving writers since 1997 and running these contests--formerly with paper submissions-- since ... hmm... since my mother's last days so before 2001.

We believe in the power of writing - in its plentitudes of forms - to touch the soul, shift the gaze, and offer new perspectives.

The focus is on literary writing: I know of no other magazine publishing in SF/Fantasy/Horror that values good grammar, let alone elegant prose. Also we are pointedly open to new writers: we value an original insight or idea or style, and are willing to work with authors if there's something good there.

We have great respect for other publications that feature work on mothering and women’s lives. Each editorial team has its own taste and slant on things. I’m extremely proud of the work that we publish—it’s skillful, vivid, emotionally and intellectually vibrant, often idiosyncratic or surprising, and reflects a wide range of experiences and perspectives on motherhood. A very small portion of the work we publish is solicited; the vast majority of our selections come from submissions.

We’d be lying if we didn’t say Bob Schofield’s art accompanying each piece has a lot to do with it, which embodies our cohesive aesthetic: distilled to something essential; seductively intense, retinally overbearing. We want to make it hard to look away.

We publish fiction approximately 50 words in length in print on a quarterly basis. Our format is just the right size at 5 1/2 X 4 1/4 inches.
Our issues are themed, and we usually alternate between a more or less serious topic and something fun. We are a print only publication.
Online we regularly post to our website as well as social media. Being a small publication allows us the freedom to respond to every inquiry
and submission personally. We try very hard to be inclusive rather than exclusive.

We enjoy work that honors traditional form, but also appreciate writing that blends and bends aspects of genre and form. We also cherish the art of curation and seek to publish work we're truly passionate about and invested in, which is why we typically publish fewer pieces over the course of a season or year. Our hope is that readers enjoy spending time with our carefully selected stories, essays, and poems.

We have a big focus on publishing stories and poetry that make an effort to read beautifully or lyrically. We don't just want the dark, we want the beautiful dark. We describe the ideal CCK submission as dark and lovely.

While most undergraduate literary journals only publish work from students at their host school, Furrow accepts submissions from undergraduates at any U.S. college or university. So we receive an extraordinary number of submissions for each issue (sometimes over 1,000), and this enables us to publish what we consider the very best work from undergraduates across the country. (Our 2019 issue earned the AWP Program Directors Prize for best undergraduate literary journal!)
Another thing that sets Furrow apart is that our undergraduate student editors do ALL the work. They don't just pick which pieces to publish, they handle copyediting, layout, design, web design, fundraising, promotion, and everything else it takes to put out a beautifully designed and professional-quality print and web publication.

We aim to elevate the health-related stories and voices of vulnerable populations and those who care for them. These are the voices that have been left out of the healthcare conversations for far too long. These are the stories that, if health systems had regular access to, can change healthcare for the better. They are creative and accessible for every type of reader, from every walk of life. They speak truths rarely heard in healthcare spaces. Each issue has a theme and a mission! For example, we are trying to de-stigmatize Mental Health, to open up the conversation around Bias, and to give patients and providers a place to tell their COVID-19 stories.

This year is our forty-fifth birthday, and I think being the oldest feminist press in the country has given the publication real weight and inspiration. This is a space specifically eked out for new and emerging writers and for under-represented voices. We work to make our publication a platform for women and non-binary writers and artists to make their own. Also, we are still ensconced in a print medium, so our journal has a reputation for being slick and gorgeous. It makes for a great coffee table book because in addition to the literature, we also have a stunning art insert and a glossy cover.

Panel magazine is a unique publication in English that represents and highlights the region of Central and Eastern Europe.
We consider not only pieces that have been produced in the region, but also those that were inspired by these lands.
We truly believe in the artistic potential and strength of Central and Eastern Europe.

Two Thirds North does not have a political or literary manifesto, but it does have a belief in the power of the story, the poem, and visual art to describe, illuminate and make real. We rely on the varied tastes of our editors to lead us away from uniformity of style and themes. We give you as much world-class poetry as prose, and we do not feed you ads.

Fiction on the Web is the longest-running short stories website on the Internet, having been publishing continuously since July 1996. But the thing I'm proudest of is that every single story published gets comments from readers. I'm so grateful to my community of readers and commenters for keeping the website alive.

There are only a few other literary journals that we're aware of that publish the works of poets and writers with mental illnesses. This is our cause and this sets The Awakenings Review apart from other literary journals that sometimes have no clear mission. The Awakenings Review is a hard copy annual publication that draws writers and poets from around the globe who have what we refer to as a “relationship” with mental illness: either self, family member, or friend. Writers and poets come to us with a variety of mental health conditions which they often share—we read their personal stories with compassion and concern. Not surprisingly some writers and poets find us after having been excluded from other literary journals for writing about these stigmatized conditions.

Solum's mission is to uplift young or undiscovered Christian authors, philosophers, and artists, and provide a space for them to interact and grow from one another. Additionally, we hope to initiate dialogue between the modern renaissances in evangelical literature, philosophy, and spiritual formation by putting them together in one place.
The breadth of work we publish is quite wide compared to other journals. We primarily publish poetry, but also short stories, nonfiction and spiritual essays, analytic philosophy articles, homilies, and visual art. We’ve basically run the gamut of established literary art forms to give the widest possible swath of Christian artists a voice.
Our preferred styles and genres are pretty unique in the field. In short stories, we prefer the stylistic conventions of Southern Gothic, postmodern, experimental, and country noir or “grit lit.” For nonfiction and spiritual essays, we prefer both personal / spiritual narratives and more scholarly work in the vein of Dallas Willard, Henri Nouwen, John Coe, Steve Porter, and others. For philosophy, we prefer work dealing with philosophy of religion, theological aesthetics, philosophy of mind, and philosophical theology.
There are very few literary journals out there looking for work in these areas (particularly Southern Gothic and country noir, and the analytic philosophy and spiritual formation essays we prefer), and even fewer looking to bring literature, philosophy, and spiritual formation together in the same place.

Our core value is to publish the writing not the writer. Of course, we’re delighted to receive great work from established writers, but we also like to hear from unknown writers and from writers resident all over the world. We’ve published great work by young writers and writers from under-represented groups and minorities and would love to receive more.

In-depth interviews and essay-length reviews, short stories and fiction and non-fiction extracts, the chance for readers to get to know current authors from around the world, and giving voice to literary translators.

The Sun is supported entirely by its readers; we carry no advertisements. We also have about seventy thousand subscribers, which is significantly higher than most literary magazines. And we pay writers fairly for their work: between $300 and $2,000 for fiction and nonfiction, and $100 to $250 for poetry.

We’ve long been inclusive, diverse, international, fresh, and non-traditional. As an English-language publication in Berlin, the work we publish reflects the diverse team that produces it. We publish exciting writing that takes risks, and we will proudly continue to amplify underrepresented voices, including writers and artists who are women, BIPOC, indigenous, LGBTQ+, working class, disabled, international, and/or geographically underrepresented.

The Citron Review tries to give our readers a complete reading experience. We feature quality writing from diverse voices. In addition, our editor-in-chief and genre editors write insightful letters to introduce the work selected each issue. Occasionally, we have themed issues. Zest is a book review and new features section of the journal that started in 2019. Look for more exciting content in 2021.

I think we are trying things at the moment that I think separate us somewhat from the literary pack. Our option for when folks submit for example, is to either record their own piece, or have an actor read. I don’t think I have seen a publication that offers both as an option. It’s super important to us as we try to strive as a place that is accessible to all. We also offer something called “Mini-packs,” stand-alone features in between our issue releases, mainly for artists and writers we have enjoyed the work of, but could not find space in our main issue. In a way it gives many of our submitters a second chance to have their work featured in our publication, especially since we receive a lot of beautiful pieces we love to take as well.

There aren't a lot of other publishing companies that are trying to do what I do, which is publishing engaging narratives that speak to the intersection of the everyday and the political. This isn't to say that political novels aren't being published but rather that it's our sole raison d'etre.
I like to think that our high production values, commitment to experienced editing and hands-on relationships with authors sets us apart. We also do zoom events that discuss the issues in the books.

We feature four artists per issue: one poet, one fiction writer, one creative non fiction writer and one artist, and we feature an interview for each. This shines a light on the individual artists and offers a deeper look at their work.

Are willingness to champion potential and work with (willing) authors to get the most out of a manuscript we feel is not quite ready, but has the possibility to be amazing.

We are fond of two sometimes conflicting points: plot and form.

We are an online community for all artists wishing to display and discuss their work on individual submission threads within the free forum.

We’re not afraid to publish things that are intense. A couple of pieces of work we absolutely adored and bought immediately we found out later had been turned down by several other markets because of the subject matter. We also find that we gravitate toward things that are sad.

We focus entirely on work that explores teaching and the classroom. And we like our pieces to be sharp, dark, even ugly if necessary! No Hallmark moments or teacher-inspiration -- just honesty.

We tend to offer more personalized feedback when we can manage it. We sometimes offer specific suggestions to help contributors revise material in order to uncover what we see as their potential.

Flora Fiction is not only a literary magazine of fiction, poetry, illustration, and photography, it's also a platform for artists to come together and share their work. We publish some that we're unable to accept in our magazine to our website and others who specifically prefer website publication. It's a great way to reach a broader audience and add to your repertoire of publications.

the fact that everything, including cartoons & comics, appears en face/parallel text, in 3 or 4 to 9 languages, & that we somehow manage to get many emerging central & eastern european, middle eastern & north african writers, along with the usual suspects of american & oz & kiwi & japanese & south african writers & visual artists/illustrators...
& that we're left coast. as much as i love n.y.c., their provincialism is so ingrained that hardly anyone sees it.
thus, left coast, & canadian, british, lithuanian, croatian, spanish & mexican publications are by comparison much more open to the outside world. everyone out here is always accused of provincialism, & many of us try to be more alert to it.
our proportion of women writers, translators, & illustrators is very high by contemporary standards. as for people of colour, that by definition has always been a very high priority.

At Cosmic Roots and Eldritch Shores we’re looking to spread hope for the future and understanding between sentient beings through the ancient mediums of well-told stories and inspiring artwork. Like music to the ears and dance to the soul, we’d like you to leave our stories feeling a little lighter in spirit and warmer at heart. For that reason we do not publish horror and stories with themes of strong violence and hate.
We also believe in helping writers grow their stories by providing feedback.

We look for poets and writers, experienced or relatively new to publication. In most issues we also feature poetry by school-age writers who participate in Inside/Out, a program in Detroit area schools. We love to find new voices and publish them alongside fairly well-established authors. The balance between literary tastes and approaches is maintained by an editorial staff of varied backgrounds and publishing experience.

Unlike some other Christian publications, we are not a typical "Christian fiction" journal, and we accept work from both Christians and non-Christians. This is for a couple of reasons. First, we wanted to create a space for Christians to showcase work that doesn't fit neatly into the "Christian" genre. I think there are many Christian writers that struggle to find their place and audience, especially if they don't write "Christian fiction," and as a writer myself I can totally relate. Second, we know a lot of non-believers are drawn to Christianity or have a view of Christianity that influences their writing. I believe there are few people in this world that have not been influenced by Christianity in one way or another, and I find Christian influences in otherwise secular writing to be fascinating. I wanted a place for their work as well. Third, I like the notion of having both believers' and non-believers' voices to give readers different viewpoints and perspectives to consider. I love the idea that there is a underlying conversation taking place between all the pieces that we publish.

Polyphony Lit is unique in three ways: 1) we give in-depth feedback to all submissions, including those we reject for publication (which is about 94% of all submissions); 2) our editorial board is comprised of more than 300 teens from around the world who volunteer to join us. As of this year, all editors are trained via our online workshop "How to Be a Literary Editor;" and 3) our organization puts a lot of emphasis on the craft of editing, with senior editors giving feedback to junior editors on the commentary of every submission.

At phoebe, we pride ourselves in not only discovering new voices with sharp great talent, but also in maintaining relationships and support for writers we've published in the past. We also celebrate art--the visual and written in all its forms. We accept genre submissions and flash, experimental essays and poetry in every form. We want to find the best work, no matter its label.

We publish every two weeks a stand-alone piece; we pay our writers; we compile selected pieces into a printed journal/anthology which we publish annually

Sinking City is a relatively new literary mag, but what sets apart Sinking City from other magazines is our engagement with place (Sinking City is, after all, a nickname for Miami) and its intersection with the diverse array of writing that we have published, from poems about extinction to hybrid works that include different mediums such as switching of language and inclusion of the author's own drawing as well.

We are, insofar as we are aware, the only international science-fiction and fantasy short fiction award aimed at fulltime college undergraduates.

We only pick the best.

Streetlight has professional actors who record select pieces of fiction. These podcasts, like all Streetlight issues, stay live on the site. The staff also brings out an annual print anthology that is available for purchase.

The Fabulist is committed to supporting fantastical literature and art in all its variations, but is not a genre publication per se. This keeps our opportunities really open, but also puts us in a funny sort of place in that we don't actually get a lot of hard-genre submissions, which is too bad, because we love such works. (We are considering doing a more determined call for hard-genre works in the future.) In general, we don't view genre as an end in itself, but rather a station along the way that one may or may not stop at. No matter the form and style, a given work should embrace its possibilities with vigor and imagination, and always to the purpose of illuminating or revealing the human condition in one way or another.
We also have started publishing nonfiction related to fantastical themes in fiction, poetry, art, film and video, etc. We intend by this to build a very well-rounded offering for a wide range of readers with overlapping interests.

We are an author-driven publication first and foremost. We have multiple staff members and editors reading every story, and we work extensively and lengthily with accepted and rejected authors alike to improve their writing. Our work is fundamentally collaborative between different editors on the journal and with the author, which means that the author receives attention from a wide array of editorial staff who care passionately about the author's work.

We have superior core strength and better-defined abdominal muscles. Our published work reflects our interests in both the lowest of lowbrow and more lofty literary larks.

In addition to poetry and fiction, we also publish a wide variety of artists, photographers, models and musicians. Content-wise, there's not much we shy away from.

We have a very distinct focus on optimistic stories, Utopian stories. We publish stories which focus on hope, that give us a future we really can't wait to dive into and live in and make a reality. And in a world saturated with dystopia, with post-apocolyptic, I think it's very important that hope and positivity stay alive. That's the focus of our magazine. I think it's more then possible to have conflict, drama, and positivity all in the same story.

We at Aromatica Poetica believe that a tad bit too much attention has been paid to the representation of the visual in literature in particular, as well as more generally in the arts and sciences. Our culture’s ocularcentric tendencies limit our vocabulary and our minds. Thus, we seek to uplift the oft-neglected senses of smell and taste, and promote unconventional sensory experiences.
As a blind person and the founding editor, I like to publish historically under-represented voices. We are not a magazine for or about blind people, but we do strive to promote alternative perspectives and to create a space where we can converse on shared experiences and aesthetics.
The submissions of fiction, nonfiction and poetry we’ve published thus far demonstrate how smell and taste provide rich fodder for writing with beauty, clarity, humor, and emotional and intellectual heft.

From the start, we've had a commitment to social justice and underrepresented voices. We publish work from around the world--often for the first time in English--and try to promote emerging writers alongside more established voices. We tend to publish literature with an eye to the wider world, work that moves beyond the interiority of a single character toward something more universal or empathetic.

Rather than focusing just on poetry and prose, our publication utilized the fact that it is largely run by undergraduates, and features interviews with established artists in all fields, all conducted by current students or recent graduates of Loyola University New Orleans.

Proceeds got to the Against Malaria Foundation

We champion underrepresented writers, as well as more established writers. We offer a pathway into publication and have connections with other amazing presses. We welcome a variety of work that is non-traditional and do not require you to be university educated or previously published. We are willing to take risks. We also support all our writers and shout about your work.

Our selection process is what really sets us apart -- Multiple editors read almost every submission, commenting on specific works, pulling fellow editors into the conversation. We meet a LOT during our submission periods to table read and discuss our favorites. We maintain a strong, diverse bench of very involved editors who feel passionate about what we read! This method is time-intensive, but it's part of RHINO's identity. Those table reads fuel us as poets as well as editors.

There is a level of love, care and devotion--of sheer painstaking sacrifice--to this magazine that pretty much radiates from its entire physical being.

Certainly, there are many beautifully printed journals, and all kinds of well-curated web content out there. While print issues are great to hold in your hand, though, they're hard to share, and often effectively are published once and then disappear; on the other hand, online publication often lacks the prestige and style of real material hard copy. We offer the best of both worlds, producing and distributing 400-500 copies of every print issue, and then archiving back issue content online to be accessible indefinitely. Writers get publication in a slick print issue, and a link they can track back to forever. The Multimedia Gallery in our website also offers a rare venue for born-digital content that we could never do in print.

Personal, one-to-one engagement with each author, plus a totally unique approach to story-telling as contained in the book How Stories Really Work.

We like to push the boundary of what and what shouldn't be published. While we pay detailed attention to fake news, we strive to publish that's ground-breaking and time-worthiness

One of the things that makes us unique is that we are staffed entirely by undergraduates. We also publish on a rolling basis, so our response and turnaround time is often much quicker than other publications.

We respond in 30 days or less; we pay $100 per piece for all the art (visual and written) we publish; we will publish anything that moves us!

Our magazine is edited by students but publishes work from contributors of all ages and from all over the world. Our project is part of the pre-professional arts training at The Chicago High School for the Arts, itself a unique institution created to promote access to the arts for underrepresented communities. Our publication is likewise interested in showcasing work by emerging writers and artists and those from underrepresented communities, though we are open to all contributors.

We think we understand better than most publications how to build a large audience on behalf of our contributors -- an international audience that is culturally broad and multigenerational that hopes for a way to celebrate together a wide spectrum of art and the valuable literature available in English (and in Russian)-- and we promote the interests of our writers with our readership better than most publications.
In service to this position, we use a screening rubric that identifies content our screeners are instructed to decline at once:
• All previously published material, including some content in the public domain (ask your editor)
• Advocacy on behalf of any criminal organization or illegal activity
• Erotica/gratuitous, graphic sex
• Agitprop, including but not limited to the following types:
o Conspiracy Theory advocacy
o Personal Cause advocacy, including activism for or against abortion rights, animal rights, climate change, euthanasia, etc.
o Political advocacy, including activism for or against any particular candidate, party, or public policy issue
o Racial advocacy, including activism on behalf of or against the interests of any specific race of people
o Religious/sectarian advocacy, including activism for or against any religion, denomination, or system of belief
• Slanderous or potentially libelous ad hominem attacks on individuals, including public figures
This list of disqualifying content may be revised at any time.

The three things we see as differentiators are that we are committed to blind judging to remove as much of our bias as possible, we offer editorial feedback from both editors and a one-week response option for a very small fee (we also offer free submissions), and that, currently, we are a very small publishing team which means that every piece submitted is considered by both editors and is not vetted by pre-readers.

We like to mash together genres to create new and interesting stories that bend the boundaries of SFF, if, in fact, there are any. We like to champion new voices and give life to those stories that aren't seen in a mainstream publisher. We want our novels to stick with people, whether it's because they're meaningful, exhilarating or just downright weird.

The Blue Mountain Review is a journal of culture. We accept life - all of it. Prose, poetry, photography, and interviews with artists from all walks of life. We stay away from politics, opinion-making, and soapbox-standing. However, we welcome everyone to submit their point of view without reservation. We represent equally. Our editors are eager to publish genuine souls. Visual artists and musicians also play a big role in sculpting our pages. The Blue Mountain Review is an experience.

Being based in Central Illinois, we are born of the prairie and take, in particular, to Midwestern-spirited voices that are, nonetheless, saying something new (though we're certainly not geographically limited in scope). That means we gravitate toward the plainspoken and impactful and honest, and also the weird and wonderful and funny and ironic. As a Canadian-American, I'm also keenly interested in looking for international voices that nonetheless embody that Midwestern spirit--that are honest, impactful, real, and enjoyable to read.

We can't claim complete uniqueness, we are quantumly entangled with a magazine that is currently en route to Kepler-42.

We respond quickly to submissions, work closely with the authors, and produce relatively short issues (approximately 100 pages) that spotlight each writer's work in a journal with high production value.

We are distinct with difference and the other to the fore. We expect some understanding
of contemporary poetics and fiction.
I don't know that there are other magazines that publish similar material, possibly
Shearsman. I suspect that it would be hard to find a similar international publication.

The theme for each issue is somewhat odd, creating a wide variety of writing in response

A truly international readership and contributor base with one third coming from North America, one third from our home country Ireland and one third from the rest of the world.

Qwerty is a magazine operated by the English graduate students at the University of New Brunswick. Everything we do is a labour of love, sure, but it is also our attempt to know and understand the culture of which we art a part, literary and otherwise. Our work at the magazine is supported by the critical and creative work we produce in the classroom and in workshop spaces, and the magazine is better for it. We are, each year, settling into new skin, learning how to marry the magazine's past with a rich, respectful present and an innovative future. I think former Managing Editors Rebecca Salazar and Katie Fewster-Yan said it best in their double issue (33-34) editors' note: "A student-run journal is a bit like the flashy young underdog at a dog show. Though we may not have been wrung through anything called a suitable training regimen prior to competition, we make up for this in ambition, and drool, and our highly-refined taste in bones."

Eyelands Book Awards is not just a book competition. Eyelands magazine in collaboration with Strange Days Books has been organising competitions and other writing events (such as Festivals, Book launches, Writing workshops, writers' residency programmes etc) for the past 9 years and this way has steadily created a community of writers and artists, giving the opportunity to people from all around the world to come to contact, create artistic bonds and share their work with a broader audience. We are striving to provide access to a wide range of creative opportunities to all writers that participate in our contests.The grand prize for the published books section is a 5-day holiday in Athens, where winners have the chance to present their work to a Greek audience in a special ceremony. The grand prize for the unpublished section is a publication contract for a Greek translation of their book. All prize winners also win a 50% stipend for 3 Rock Writers' Residency, a writers' resort in a beautiful beach in Southern Crete, where authors are invited to work on a project that will be considered by Strange Days Books for publication. Also, every year's grand prize winner is invited to join our panel of judges and we are very happy to welcome Catherine McNamara (grand prize winner of 2018) as a judge for short story collections this year.

The layout. Unbiased content selection.Variety.Providing a platform to aspiring new literary talents.

Firstly, The Tiger Moth Review is unique in its niche of publishing eco-conscious poetry, prose, art and photography.
Secondly, the journal places emphasis on representing as diverse an ecology of voices as possible, accepting works in translation.
Thirdly, we believe in the value of intertextuality, which is why each issue is curated to reflect the relationship and resonances between literary and visual art.
Finally, while our mission is to prioritise work from Singapore and Asia at large, we are interested in delving into concerns and issues that are shared across cultures, hence the work we publish are glocal in nature.

We were founded in July 1998 and have been publishing more-or-less continuously. This has given us a great deal of context for experimental, genre-bending, and transgressive work. We publish rolling content, not issues.

We're sharing stories by voices that might not have always traditionally been allowed to speak.

I'm not aware of any publication that publishes similar material to Witness. We are really focused on the American experience and how the world views it, but also in a profoundly personal and voyeuristic element of creating poetry and prose. Every editor says they publish the work that surprises them -- we don't. We publish the work that leaves an indelible mark on our psyche after reading it.

We publish a variety of genres, not all of it belletristic. Apart from publishing first rate new work by contemporary writers of poetry, fiction and personal essay we also publish cultural criticism and symposia on cultural issues such as Race, Religion and Nationalism, Identity, Kitsch, The Sense of the Past, The Clash of Civilizations, and so on.

Our mission is to champion great work—especially by persons under-represented in literary publishing—and we welcome writers and artists regardless of race, sexual orientation, gender identity/expression, disability, religion, class, veteran status, and educational background.

We strive for a unique blend of emerging and established writers. We have attracted pieces by the Rilke Award winning poet, Robin Metz, and first time writers. Established journalists and writers, and young people hoping to make a mark. We also feature photo essays and art work that sets us apart from most other journals.
Our art skews toward photography, although we have some wonderful oil paintings to be included in our next issue. Because our interiors are black and white, we look for work that can make a statement in monochrome.

Unlike most other publications, PLJ expands if more worthy projects come in rather than rejecting works to fit in any specific page count. If you submit a good project to PLJ, it's very likely it will be accepted. The general policy is to be welcoming and to help writers find readers, rather than picking out what makes for better art than something else. There are no reading fees or other hurdles to jump through. Just write your best work, and it's my job to house it.

At CRAFT we read short and flash fiction with a focus on the elements of craft, the art of fiction. We love when a writer teaches us something or surprises us with their use of an element or elements. We do not charge fees for our short and flash fiction submissions, and we pay our authors. We value accessibility and so keeping CRAFT free to read and free to submit to is important to us. With each accepted piece, we publish a craft essay by the author that explores their writing process.

The Drabblecast doesn't care about story genre as much as it's interested in stories that slink around outside those lines. Our tagline is "Strange Stories by Strange Authors for Strange Listeners." We publish Weird fiction which, by definition, is practically indefinable. Stories that _feel_ different, for whatever reason, is our bread and butter. The other thing that we're big on, as an audio podcast, is production quality and the craft of storytelling. We have very high standards when it comes to narration, episode art, recording equipment, and unfortunately you don't always see fiction podcasts holding to the same consistent levels of quality in delivery that great stories deserve. We frequently take great effort in incorporating music and custom soundscapes, with the overall goal of creating a full, magical experience that works synergistically with the story to create something that the listener will never forget. I don't know many other podcasts that focus on some of these areas like we do.

Raising Mothers focuses strictly on the voices of marginalized femme presenting POC. Our goal is to level the playing field with work by mother writers of color. In the mother literary field, we are expressly unique as an actual literary space in highlighting only marginalized people.

Common Deer Press is open to most genres, though we do tend to gravitate toward fine children's literature (from picture books to young adult). What makes us different is that we are after a certain kind of "voice" in the work we publish. We live to publish uncommon books. For us, uncommon means a combination of exceptionally fine writing combined with a quirky or unique perspective. Books that can take the reader on an emotional rollercoaster, fill them with wonder and transport them to other places, other worlds. But other worlds can also mean giving the reader an experience completely foreign to their own. We believe this applies particularly to our children's books. We want them to be magical, giving us something that is removed from everyday life and the feeling that something extraordinary has occurred. All our books have that effect of opening the reader’s mind to new possibilities and ways of viewing the world. There is a lot of competition for a
young reader’s attention; we feel that if a child gets ‘hooked’ on books at a very early age the habit is much more likely to stick.

We only accept works by Southern writers or those with a tie to the South, published in conjunction with stories on food, travel, culture, arts and Southern literature.

We're both a contest and a publication. We select stories that are entertaining and well told and edit them to have the best chance at charming our readers. Our members can comment and rate stories, and the best ones make it to our paid anthology. We also try to provide feedback to as many submissions as we can because we know what it's like to submit something and not understand why it wasn't selected.

Blank Spaces is a full colour, full bleed, print publication of archival quality. We pride ourselves on being a safe place for aspiring writers to test the waters of publication without the red tape and swagger of large publishing houses. We work closely with our contributors to help them put their best foot forward.

We've worked hard to cultivate a Miracle Monocle aesthetic, but that can be difficult to do when your core organizing principle is a devotion to eclecticism. I think readers know that they're going to see something new in every issue and writers know that work that pushes expectations formally and on the language-level is welcome here. We also work hard to treat writers well; that means getting at least three pairs of eyeballs on every submission and getting a response to writers within about 6 months. We don't charge for submissions and we do award two writers with cash prizes in each of our issues. We've published an editorial code of ethics on our site so that everyone can see how the Miracle Monocle sausage gets made.

Where most short fiction podcasts have a very specific theme or genre, MSFFP has a broad mix of genres - from a diverse collection of contributors - and instead focuses on a sense of story and place. Our stories are chosen, mostly, for their ability to evoke presence (and to sound nice when read aloud).

A clean minimalist design

We’re a team of working writers and young professionals. We understand how it feels to be a writer trying to have your work published. With this in mind, we connect with our contributors and treat their work with the utmost respect it deserves. Our journal is also organized aesthetically and it allows for the creative word to speak for itself.

Even though we're an undergraduate publication, we'll take writing from anyone, anywhere. This allows us to--more often than not--represent a wide range of voices in our magazine, rather than students alone.

Our publication does our best to provide handwritten feedback to contributors and offers an Artist Tip feature so readership can support artists directly.

Fine Lines is dedicated to the development of writers and artists of all ages. Our publication started out as a classroom newsletter in 1991 and has now turned into a 50 state writing network and a 501 (c) (3) non-profit educational organization. The first publication issue was 4 pages long and allowed many students opportunities to show others clear thinking and proper written expression. Now, each online, quarterly issue is about 300 pages of fiction, nonfiction, poetry, and art by "authors and artists in process."
Fine Lines receives creative writing from authors of all occupations: prose articles of medium length, reflective essays on widely diverse topics that reflect life experiences, what one learns through the writing process, and poetry in all forms. We printed writing from a six-year-old, a 94-year-old great-grandmother, ministers, janitors, doctors, lawyers, scientists, teachers, and students of all educational levels. We have published writers from all 50 states in this country, 41 foreign countries: Argentina, Azerbaijan, Australia, Barbados, Bhutan, Brazil, Canada, China, Denmark, Dubai, Egypt, England, Germany, Iraq, Ireland, Israel, Italy, Indonesia, Japan, Jordan, Kazakhstan, Malaysia, Mexico, Myanmar, Pakistan, Poland, Russia, Saudi Arabia, Scotland, Sicily, Sierra Leone, Sri Lanka, Sweden, Switzerland, Thailand, Togo, Turkey, United Arab Emirates, Venezuela, Vietnam, and a US Navy aircraft carrier in the South Pacific.

Content -- social realism across a stylistic spectrum, a progressive working class perspective and the arrangement of work within the collection.

Our aim to seek out diverse work and diversity among our published writers. We consciously cultivate our publication with these foci in mind.

On writing, I'm proud to announce that The Circle: A Brussels Anthology that I edited is coming out on 14 October 2018 (with book launch at Waterstones in Brussels on the 22nd November). This collection houses 54 works by 34 authors from 19 countries - that has sprung from authors who are or have been members of The Brussels Writers Circle (BWC). BWC has proven a valuable touch-down ground for international arrivals and venue for integrating those with a passion for the written word.

As the longest-running undergraduate-managed literary journal in the United States, we are committed to showcasing all kinds of exciting work from the bright, talented undergrads that submit to us. We encourage students to send us creative work that tests the boundaries of form, genre, and content, even offering a submission form for hybrid pieces. Above all, we're interested in providing a space for undergraduate writers and artists to break out with a bang.

NUNUM focuses on blending flash fiction with visual art to produce a work which while faithful to both parents is, as all offspring are, unique unto itself.
This is all we publish, and we do it in order to further explore the idea that both the words of a flash fiction piece and the elements of an image don't exist in a vacuum. A reader's mind isn't blank, it is full of clusters of memories, all inter associated with each and it is these associations which NUNUM's work seeks to pique.
When a reader engages with a piece from NUNUM our goal is to disrupt their contemporary mental associations and force them to change, quite literally to change what they think in a way that either the story or image alone would be unable to accomplish.
After all, this is what nunum means, something which promotes a moment of mental stillness that gateways to a more reflective state.
While I am sure we don't bullseye this each and every time, it is the only thing at which we aim.

We seek out the very best in contemporary literature in all three genres. Writing originally published in The Missouri Review has been reprinted in anthologies like the Best American series, The Pushcart Prize, and The Prize Stories, to name a few, over one hundred times. We also frequently publish first work by emerging writers. We have a reputation for being careful and considerate editors and working closely with each writer on the edits of her/his manuscript. The work we publish is engaging, memorable, and always entertaining.

We publish poems that are visionary, where the language is beautifully crafted, poems that make you grateful to be alive. We like poems that speak to body, mind, heart and soul. We also look for poems where every line delivers. To read poems that we deeply admire, I suggest reading River of Earth and Sky: Poems for the Twenty-First Century. It's like a box of chocolate for poets, and if you like what is published here, we may be the right press for you.

We are focused on people, not pieces. We want great writing and art, but we want to know the people behind the work. We're dedicating time and resources to highlighting our contributors and connecting readers with them beyond the page.

In the prose department, we offer real, actionable feedback that you can put to use right away to make your story better. And in fiction, I work hard to ensure that the story you sent me is the story you want to tell. Our editorial guidance is proven: writers have gone on to win awards and be published in anthologies. We do this because we want to make a better literary ecosystem for everyone. That means helping to better work when we’re asked, and promoting great writers who might not get a chance at publication otherwise.
Our publication is 100% from our open submissions queue: we don’t solicit, to better even the playing field.

Literary Mama features writing by mother writers about the complexities and many faces of modern motherhood. We publish writing with fresh voices, superior craft, and vivid imagery, writing which is deeply felt and often funny, but never sentimental. We seek top-notch creative writing: fiction, poetry, creative nonfiction. We also publish book reviews, and profiles of mother writers and artists. We also offer regular writing prompts (with editorial feedback and the potential for publication on our site) to kickstart a writing project and help turn our readers into writers.

Many university-associated literary journals aren't very attractive--I wouldn't want to display them on my coffee table. At Bat City, we pride ourselves on producing a beautiful object as well as one that you will want to read and reread. We also publish quite a bit of artwork. We're lucky to have access to the Harry Ransom Center. The Center's collections contain 36 million leaves of manuscripts, one million rare books, 5 million photographs, and 100,000 works of art, in addition to major holdings in theater arts and film.

Care, Design, Intelligence. We put a lot of thought into the interplay of design & art & literature. We invite readers to come with us.

We challenge the canon, and have a grassroots commitment to justice, without being a journal with a "social justice" theme, per se. We also work with translation and visual arts more than similar publications tend to. I never want someone to read one of our issues, and know what's coming. Because we have special folios in each issue, we have the opportunity to touch on topics like writing by neurodivergent queer and trans people of color, or writing from the Caribbean, or speculative fiction in translation.
We publish more hybrid and experimental work, but are interested in meaningful experimentation. Form for form's sake is less interesting to us than form that innovates, or makes something inside of the author burn brighter. We also refuse to accept that experimental work can't also be lyric, confessional, or multimodal. I'm generally interested in interrogation and deconstruction, personally.

Radical inclusivity. By this I mean that we strive to create a space in which creative's at varying levels in the journey of their craft coexist without hierarchy and with a willed blindness to their educational or publishing achievements. The most important guiding light for me, as an editor, is the heart and spirit behind what each person is striving to say or show. AHC was founded because it seemed all too apparent that the majority of publications seemed to put far too much emphasis (evidenced by the bios of their contributors) on educational status and achievement i.e. MFA programs and the like. The goal of Anti-Heroin Chic is to include everyone, within reason, as much as possible. We believe strongly, as Jack Kerouac says, that "everyone has the vision, what they lack is the method." Hopefully we are like a holding station for the development of that method. We believe everyone has a story to tell, and we'd like to hear as many as possible and not all from the same place or walk of life. We had the opportunity recently to publish the writings of inmates who are currently on Death Row in San Quentin, and who have turned to writing as a way of coping and transcending the desperate, harsh and unforgiving world that they are in. These voices are important to me and we need to begin hearing more of them in the literary world. The second major thing that sets us apart is a committed focus to drug addiction and recovery. We strive to publish writers who have struggled and survived addiction and also those who have lost loved ones to addiction. As our country is facing a major drug crises, we believe firmly that creativity is one of the most potent ways to bring hope and light through testaments of survival.

All contributors are paid ($40 per story; $10 per poem; craft essays, visual arts, and comics vary) and offered an interview to be published alongside their work. Few magazines interact with their writers as much as we do. All fiction contributors work through several line-edits with our diligent editors, which is how editors used to work with writers before "accept as is" became the unfortunate norm; this way, both the fiction and the writer become more polished. Fiction contributors are also offered guest editorships for subsequent issues, which both helps them figure out the contemporary trends, cliches, and mistakes, as well as gives them an additional resume booster. For graphic narrative, we're one of the only literary magazines that has published a serial comic ("Invasive Studies" lasted for eight issues before wrapping up in issue 4.1); we'd love to do it again, so send us your comics.

Winning Writers accepts previously published work, unlike most other contests and journals with a similar prize pool and prestige. Our website gets 1 million page views annually, and over 100,000 Twitter followers.

We bring artists and writers together in cohesive fluidity.

We are not only open to new writers but we encourage their submissions. A list of publishing credits doesn't impress us but a well written submission does. Because we edit as a collective, your work has the opportunity to appeal to a variety of people. We also allow our editors to chose one piece per issue for publication that the majority did not. As long as one editor strongly supports the piece, we publish it. At the same time we are extremely selective (please see our acceptance rate).

We welcome new and established voices to our journal. If the writing and narrative arc offer a compelling story and memorable characters, we give weight to what is in front of us, whether the writer is unpublished or a Pushcart Prize nominee. In terms of communicating with people who submit, we offer a response to each person who writes to Sunlight. We believe writers and their work deserve acknowledgement. Artists shouldn’t wonder whether their submission has fallen into a black hole. At Sunlight, we aim to respond with an acceptance or rejection to a writer within three to four weeks from the date piece is submitted. We also pay for all accepted submissions because we firmly believe writers and artists should be paid for their work.

There are three kinds of stories:
1. Adventurers go forth and slay goblins.
2. A woman has a mid-life crisis when her car breaks down.
3. A goblin has a mid-life crisis when their cart gets smashed by adventurers right before the Great Mushroom Festival.
We want to publish fiction in the third category.
We also want to publish works from traditionally marginalized communities.

We think we have a unique aesthetic at MoonPark Review. We only publish work that both editors agree is exceptional and our literary tastes are quite different, so a piece that excites both of us is usually pretty special. In particular, one of us is obsessed with clear, direct prose while the other prefers rich and surprising language and a nesting doll of secrets. If you can thread that needle of contradictory editorial requirements, you might be a MoonPark Review author.

It would have to be the art portfolios. Our journal is printed in full color, which means we can pair the art with pieces of prose or poetry that are complementary. An issue of TSR averages 230 pages of content, and having art portfolios that break up the pages of text makes a difference in how you read the journal. I like to think that people have a copy of TSR on their coffee tables or night stands and pick it up over the course of several months, read a few pieces, look at some of the art, put it back down. Repeat, etc. Our journal is best savored slowly, I think. Partly because of the density of pieces, but also because of the sheer variety. It takes more than one sitting to digest all of the content.

Lately, we've been receiving an incredible amount of very high quality work through our Submissions page. We're excited about this trend and love publishing unsolicited work. We look for work with a global perspective, and work that comments--uniquely--on the state of our culture. (Much to comment on these days.)
We also publish video essays, which present a compelling mixture of art forms.

In addition to solely publishing works that we believe to be powerful, elegant, and thought-provoking, we work hard to ensure as smooth a submissions process as possible for our authors and artists. By balancing a fast response time with the full consideration and discussion that each piece deserves, as well as working with our contributors to polish, publish, and publicize their work, we maintain a writer-friendly policy that is extremely important to us.

We are rather generous editors, often working with less seasoned writers to revise submissions. And, we actively pursue diverse and neophyte writers, because one of our goals is to raise a multitude of voices in resistance to the Trump regime.

It combines a community-building spirit unique to our Central Valley, CA region with a national and international reach.

We publish a combination of nonfiction that is more academic in nature as well as fiction, poetry, art, and narrative nonfiction. Most other journals publish one or the other. Because of this, and because we are a free on-line journal, we are able to reach a wide international audience, serving to both educate and entertain. Our focus on health and the human condition is of interest to those who participate in the healthcare community as professionals or consumers, as well as those who have an interest in medicine and the humanities.

We're going into our 22nd year in print and are committed to remaining a print journal. In the spring and fall of each year, we hold a launch celebration at a beautiful bookstore in downtown Traverse City, Michigan. Contributors have come from as far away as Alaska to give readings of their work. We value the tangibility of print. If the journal was only online, we wouldn't have anything to gather over.

Besides publishing international writers, we strive to publish emerging and established writers from both the US and Canada. We do not shy away from social and political issues; indeed, we favor writing that takes on taboo and marginalized topics. We tend to look at the "art for art's sake" position with suspicion--I dare say even derision--and think it's a fatuous, irresponsible publishing dictum.

We love the strange, the sublime, the surprising. We love a literary take on genre, be it sci-fi or thriller. We're open to anything wonderfully written that tells a story. We seek to enlighten, entertain, and provoke.

It's right in the name, but names can be deceiving. We're a journal concerned with the intersection of writing, the arts and the environment in the broadest possible sense. We do publish traditional environmental works, but we're also interested in work that provides a fresh and unpredictable take on what it means to be place-based. Send us pieces concerned with the urban environment as well as the wilderness and everything in between. We're especially interested in speculative fiction that leverages the tropes and conventions of horror, science fiction, fantasy and magical realism to illuminate the strange new reality of the Anthropocene.

We are one of the few literary publications that consistently prints four genres: poetry, fiction, creative nonfiction, and drama. Our editorial staff is selected from the graduate students at Western Michigan University; the consistent addition of new members opens us up to new writers, new voices, and new styles of writing.

Our guiding principle at Saint Katherine Review is "Inquiry Seeking Wisdom" and by that, we mean that we want to publish work that is enduring, well considered, fully developed, and redemptive.

We're small and each one of us is personally invested in every author and every project at all times. We can't compete with huge budgets that the big publishers have, but all our authors will have our attention and dedication pre and post launch. I'm biased, yes, but I think our logo is pretty spiffy, too.

We heavily emphasize intersectional feminism and strive to provide a platform to elevate marginalized voices and experiences. Additionally, So to Speak seeks to engage in a dialogue about intersectional feminism not only with our online community, but also with our local communities.

Printed in full-color on high quality paper, F(r)iction offers a completely unique and vibrant reading experience. Every short story, poem, flash fiction, and author feature is complemented by a custom illustration, fine-tuned to the nuances of each narrative. Our fabulous art team is dispersed all over the globe—from Denver to Mexico to Italy and beyond—and our pages are rich with international voices and perspectives. We also publish a graphic short story in every issue, including work from two Eisner winners and one Eisner nominee. Our emphasis on visual aesthetic is reflected in the writing we publish: bold, boundary-breaking works that take risks which set them apart from traditional approaches to storytelling.

Unlike a great many other journals that publish fabulism and surrealism, I exclusively publish these kinds of stories. Innovation is my number one criteria. I've turned down a lot of great realism pieces, for example, because I'm only interested in the strange and different and exploratory in fiction.

The Arkansas International seeks to put US writing in conversation with writing from around the world. To this end we seek out not only work in English by US writers but also translations from other languages and original work in English by writers from elsewhere. We publish poetry, prose (both fiction and non-), and comics. Our website, www.arkint.org, publishes selections from the magazine alongside additional content, such as reviews, author Q&As, and other features.

The field of healthcare places intelligent, observant, articulate people smack in the middle of critical moments in people's lives. We are not concerned with who writes the stories that result, but how well these moments are recorded. We are amazed and grateful that the night nurse who has devoted most of her life to patient care may also be a wonderful poet. We look not for big names but good writing.

We heavily emphasize intersectional feminism and strive to provide a platform to elevate marginalized voices and experiences. Additionally, So to Speak seeks to engage in a dialogue about intersectional feminism not only with our online community, but also with our local communities.

Being writers ourselves, one of our goals is to be as author-friendly as we can. To this end, we respond quickly, provide feedback when possible, and we pay for accepted work.

Our Writer's Coop which is available to our contributors and editors. The Writer's Coop at Umbrella Factory Magazine aims to develop, nurture and publish the manuscripts of our writers. All members of a coop group play varying roles in each other's manuscripts from conception through publication.

Through our global staff of more than sixty emerging writers of various ages, the journal really aims to eclectically present what we see as the future of writing -- what we want to write, and what we want to publish. Therefore, I do think that we have a very specific aesthetic and taste (especially for poetry), and I highly encourage submitters to read current & past issues of the journal before submitting. In addition, we allow for submitters to continually send us work so long as more than eight poems or three prose pieces are not in consideration simultaneously from the same author (where many other publications typically limit submissions to every six months, or once/twice a reading period). We truly believe that every writer has something we'd love to read and consider, so we choose to let prospective contributors send us as much as they'd like.
Basically: Read our issues because we have tastes more specific than "good writing," and -- if at first you don't succeed -- try, try again.

It's edgy, and it cuts above the normal veneer of literature. We have a lot of authors here and often we will publish purely because the work is wonderful, but the content may not strictly be 'Near To The Knuckle'.

we don't specify genre.
we let work speak for itself.
we embrace the uncomfortable.
we want to learn.
we need to feel things.
we like emerging writers.
we edit work!
we support our writers.
we pay.
we care so much it (sometimes)hurts.

We have two unique categories that explore the connections between writing and art: Postcard Lit and Erasure Text. Postcard Lit is the opportunity for the writer to include an image and/or the artist to include words—combining two artistic media to say different things, making the whole greater than each part alone. Erasure Text is an experimental and alternate form of creating expressive new meaning out of a previous text (inspired by Tom Phillips, A Humument).
In terms of content, we hope that the fictional and nonfictional stories and poems speak across nationalities, race, gender, sexuality, age, and economic situations, and are linked by emotional truths that all human beings share. We are interested in providing a home for stories about the displaced person and those considered outside the mainstream, all in a respectful atmosphere.

The biggest distinction is that we're committed to having 20% of each issue be work from authors with a strong connection to Maine. Either they are from here or live here now. We want to set that work into the broad context of English language writing from the rest of the world (which Mainers sum up, succinctly, as "away").

I'm in my second year as editor of The Florida Review, and so I am feeling my way toward a new definition, one that respects and builds on our fine history, but that brings us forward as well. We were one of the first literary magazines to recognize graphic narrative as a literary art form, and I hope to bring recognition to even new forms of narrative. I hope to create a place where the arts can engage each other. Right now, however, we are only beginning these efforts and what sets us apart at this point is a spirit of survival against all odds. That conveys in our affection for tough work that can be very dark or very funny, but that exists at multiple levels, isn't afraid of depth, and is always, always beautiful even if what it describes isn't.

We publish works that cross boundaries. We firmly believe that speculative fiction is (must be) literature, and can become myth, legend, song, a river on which dreams can sail. We want to bring forth fiction that’s nuanced, layered, that brims with non-triumphalist sense of wonder, three-dimensional characters, fully realized universes, stories that lodge in cortex and breastbone. We want to help create books whose universes, societies and characters are diverse in any or all respects, but originality of imagination and quality of craft are our paramount criteria. We mean it when we say we want to elicit and nurture fiction that shapes the dark.

We like work that blurs the lines between categories of genre fiction. We want science fiction in our horror, horror in our fantasy, etc. Also, we still value poetry and interior illustrations, unlike many magazines that have punted on both.

We decided early that we were not driven by fear of comparison with other 'zines publishing speculative fiction - that we just wanted to see everything that fell into the bucket (in our contributors' eyes) of that rather broad and mystical genre. Writers want to write, we want to read and be entertained, and then share that...satisfied feeling with readers. I think sometimes being around a long time may be a burden, you can't recognize something fresh because you are jaded managing the archives of what you've already seen. We'll keep that in mind as we go forward.

We are looking for pieces that are uniquely written, and that take risks, and with every issue we are also curating to find the resonant in the collective.

We accept chapbooks in any genre, not only poetry but also short novellas, collections of short stories, flash fiction, prose poems, one-act plays or collections of short plays, nonfiction in its many guises, hybrid and cross-genre work, and anything else you want to throw our way. The first chapbook we chose was a visually-inspired, genre-breaking work of erasures and experiments. But we'd be just as happy to choose a kitchen-sink drama or a book of traditional sonnets.

Bennington Review has a long and distinguished history, originally founded in 1966, publishing its last issue (prior to 2016) in 1986, then hibernating for a thirty-year period. Its former editor Robert Boyers referred to it as "a testing ground for contemporary arts and letters." We are drawn to the idea of a journal as a testing ground, and are committed to selecting works that feel unexpected and new, even when they arrive with their edges raw. We feel a strong commitment to the print publication in a digital age, to creating and curating a book, a gallery of pieces to encounter in a particular order that inherently end up in dialogue with one another. We also have a particular interest in contemporary fiction, poetry, and creative nonfiction by women, writers of color, immigrant writers, and writers residing outside the United States.

Passion, ambition, honesty, the desire to make a difference/impact on writers' lives and on the book industry at large, and the owner has 30 years experience as a writer & editor in the industry and in horror.

Two Things:
1) Our editorial staff is entirely composed of UNC students and changes frequently. That means the journal constantly re-invents itself and we don't get bogged down in one particular style or school of literature. Eclecticism is our strength.
2) We publish 3 print issues per year, and the equivalent of 2 issues in online content. We can therefore afford to take risks on less-than-perfect work and will often invest the time honing it with the author. For this reason alone, we find ourselves publishing several first-time or early-career writers in each issue.

filling Station is unique in pursuing exclusively experimental or innovative literature in Canada. This may take many forms. Sometimes it's the voice that is innovative, or the style of writing. At other times, it may be an unusual collaborative effort or a set of formal or constrained practices. Occasionally, it is the topic or the mode of presentation that is refreshing. filling Station also has a mandate to support and encourage emerging writers, so we enjoy introducing new writers to our readers and in giving authors their first publications. Obviously, many of our contributors are much more experienced, but we are mindful of creating space for emerging writers within our pages.

We provide as much opportunity for unpublished authors as established names.

We put out a free, sixteen page (1/2 color), pulp paper, issue each month: 8000 copies distributed in some fine cities in the US South, and a few other places, too. We place a copy of each issue on our website, and keep an archive of all copies out there as well. Some art, a story or two, some poems, an essay or a short author or artist interview. The occasional book review (about something you should have read a while ago!) We call it a single-sitting reader. One cup of coffee won't go quite cold while you indulge yourself. Sometimes I am surprised at the caliber of writers that submit to us - they are world-class, and they come from all over to be with us - and we're just a little monthly thing on a shelf near the front door. What sets us apart? Can it be as simple as us being free?

One thing that definitely sets us apart is we work with writers. ...sort of like the old-school Golden Age of Science Fiction. We often give suggestions to make a story even better and go through some iterations with authors.
I think our mix of stories is really lovely as well. We enjoy pushing the envelope with original ideas and genre mashups and your-original-idea-here.

We are very very friendly and very quick to respond

I think our clean, non-intrusive aesthetic, which pulls focus to the work.

We pay a lot of attention to the quality of the anthology. Our cover design is by one of our winners, who is an artist as well a writer. We also include a selection of stories long listed in our competition as well as the winning and shortlisted pieces.

We accept writing and art/photography in any style, genre, or subgenre. While we welcome submissions from anyone, we especially encourage work from those living life's second half.

I'm really thankful for all the other publications that seek out voices that are underrepresented in the literary world. I think Apogee has some features that make it stand out: including the quality of visual art. In the past few years, we've featured Mickalene Thomas, Richard Hart, Xaviera Simmons, and other excellent artists, curated by Legacy Russell, a force in the writing and art world herself. I also think Apogee is unique in its commitment to publishing mostly emerging writers. In every issue, we've had a significant number of contributors for whom it's their first time publishing. We also have a women and minority led editorial staff.

We read blind, but actively seek work from culturally diverse corners, and therefore publish a higher proportion of women writers and writers of color. We look for work with heart, poignancy, interesting turns of phrase, and a social conscience.
And as Lise Quintana, our previous EIC noted: our staff is much cuter, on the whole.

I think the "value" that we add is our knowledge of the science fiction and fantasy genre and ability to spot writing talent and new ideas. Our themed
anthologies offer variety for readers of all tastes, although we lean toward stories that have something instructive to tell us as human beings.
We have considerable editorial experience and present and market our anthologies in a professional manner.

We are very friendly to new writers. Twenty-five percent of our stories are first-time publications for our authors. We published early N.K. Jemisin, Lavie Tidhar. Aliette de Bodard, Karl Bunker, Rae Carson, Will McIntosh, Alan Smale, Lisa Mantchev, Lawrence Schoen, J. Kathleen Cheney and Mercurio D. Rivera.
We're talent scouts here at Abyss & Apex, and a publication in our pages is a cover letter credit major markets respect.

The work needs to catch our attention, sustain it and move toward more than just characterization, toward a message without hitting us on the head.

There are no other publications like Space Squid. Space Squid is the very last resort for everyone who has a story that knocks readers on their butt, but can't convince the weasels at reputable markets to publish it. Space Squid is the frothing junkyard dog of genre fiction.

Our magazine is frozen to forty below to condense and preserve the writing within. Most of our staff live without running water, and so literature is our only creature comfort. We read huddled around bonfires, on moose hunts, and in outhouses. These things are actually true, so we're not looking for writing about that. We want things that get us hot and bothered from around the world.

We're slightly less pompous and hopefully less boring than your usual literary journal.

With an all-graduate-student staff, The Journal is constantly evolving. The genre and managing editors change annually or bi-annually, so we're always accepting slightly different work. The changing staff also means that new ideas get implemented regularly and rapidly; each new editor leaves his or her mark on the magazine and its processes. We're also particularly proud of the dual online/print nature of the magazine, which allows us to choose the best format for each piece we publish. That means we can publish elaborate art features in a variety of media, audio recordings of selected writers, a wide range of interviews and reviews of new books, and more.

Our mix of genres. Most magazines publish a single genre or handful of related genres. In every issue we strive to have a cross-section of as many genres as possible. That means literary fiction rubs shoulders with steampunk, history meets mystery, and science fiction shares a room with romantic comedy. This allows our authors to reach new audiences, and exposes readers to genres they didn't know they liked.

We're one of the few MFA-run journals that actively publishes experimental writing. We're also sexy as hell. We're also based out of a small town in Mississippi, and Faulkner lived here, so that's cool, if you're into dead people. (Which we are!)

We pay our authors and artists for their works and strive, through a careful reading of all submitted works, to publish the best of the best short stories, poetry, reviews, essays, and interviews. When we find a submission with potential, we will work with that author to find the best edited version for publication. Our editors are quite good in their own right. We have a fiction/short story editor that writes fiction and short stories. We have a poet as a poetry editor, and a humorist as a humor editor. And we get better with each issue!

We still publish hard copy editions where many magazine have moved to being exclusively digital. We try to assemble a collection of pieces in each edition which work both independently and as a part of the whole.

Because we are a small press, we are able to take more risks on new authors, as well as pick up mid-list authors who have been dropped by larger publishers (which is a current trend in the market unfortunately). We simultaneously release both print and ebooks and are working toward a regular process for releasing audiobooks. We are a royalty paying publisher who also provides marketing for our new releases. We do expect our authors to assist with marketing, of course, but we make a concerted effort to market each new title.

We showcase one piece for two weeks. Next to each prose piece is a author's note written by the author of the work, commenting on either the piece itself or some aspect of literature they find relevant. Matchbook tries to slow the torrent of online publishing rapids.

We publish daily, we will publish almost anything as long as it is interesting and well written. We have a large audience which is growing every month.

We seek to champion work that takes risks, expands boundaries, transcends divides and challenges perception. We look for the difficult-to-describe, the not-categorizable. We hold the gate open, so to speak.

While we publish well-known writers (Martin Amis, Colm Toibin, Ali Smith, Jennifer Egan) we pay real attention to the slush pile, so you will always find new names in our issues. We match our fiction and poetry with artworks from emerging artists, so our issues are beautiful as well as interesting. We're one of the few high-tier journals in the UK to exist online, and thus free to read, which guarantees us a high readership each time.

Points in Case is not afraid to take chances on many humor styles and formats. We also devote ample time into making sure all articles are not only thoroughly copy-edited, but titled and presented in an attractive, relevant, and compelling way. We love our writers; praise, constructive criticism, and trading concepts and ideas are all part of the publishing process.

We are both FUN and Literary. Emphasis on the fun. We want a story that draws us in, not puts us to sleep or makes us feel we're back in grad school.

SPANK the CARP is totally focused on writers. Every email submission gets a ‘Submission Received’ response. Every reject gets personal feedback. Every accepted piece gets an intro when it appears. Each issue features a very small number of writers. And as I review submissions, I don’t hesitate to ask a writer about their piece. I also let authors know a month in advance of their piece appearing on site. It's all about the writers.

Twisted Vine is ran by students. We want work that reflects the interdisciplinary/cross-genre/grey area of lit, but with a revolving staff, the specific tastes and moods change biannually so it's always new.

We look for reader-focused storytelling. We want literary fiction with popular appeal. As I answered before, neither Karl Wenclas (the other editor) nor I know of any other publication that has this goal. Our existence sets us apart!

What sets us apart (at the time I wrote this) is that there are no other current grimdark ezine publications paying authors pro rates.

Aside from being one of the very few publishers of humorous short stories, the fact that the winner of my competition (which is run once a year) has their head used in the cover design of the anthology. The book is then strapped to my motorcycle and filmed being ridden to Hull and back (around a 600 mile round trip in the UK). It's a lot of fun and arguably the greatest short story prize out there. Mind you, I would say that as I came up with it. So I MIGHT be a tad biased...

BlazeVOX [books] presents innovative fictions and wide ranging fields of contemporary poetry. Our books push at the frontiers of what is possible with our innovative poetry, fiction and select non-fiction and literary criticism. Our fundamental mission is to disseminate poetry, through print and digital media, both within academic spheres and to society at large.?We seek to publish the innovative works of the greatest minds writing poetry today, from the most respected senior poets to extraordinarily promising young writers. We select for publication only the highest quality of writing on all levels regardless of commercial viability. Our outlets of publication strive to enrich cultural and intellectual life, and foster regional pride and accomplishments. ?BlazeVOX [books] consciously acquires a collection of titles providing focus, continuity, and a basis for the development of future publications. Through the publication of works of significance, BlazeVOX [books] is committed to the dissemination of knowledge.

BlazeVOX [books] presents innovative fictions and wide ranging fields of contemporary poetry. Our books push at the frontiers of what is possible with our innovative poetry, fiction and select non-fiction and literary criticism. Our fundamental mission is to disseminate poetry, through print and digital media, both within academic spheres and to society at large.
We seek to publish the innovative works of the greatest minds writing poetry today, from the most respected senior poets to extraordinarily promising young writers. We select for publication only the highest quality of writing on all levels regardless of commercial viability. Our outlets of publication strive to enrich cultural and intellectual life, and foster regional pride and accomplishments.
BlazeVOX [books] consciously acquires a collection of titles providing focus, continuity, and a basis for the development of future publications. Through the publication of works of significance, BlazeVOX [books] is committed to the dissemination of knowledge.

We’re interested in stories and essays that are unmistakably unique.

We are firmly focused on centering the works of Asian-Australian-Indigenous writers into the landscape of contemporary literary fiction and poetry. We are also primarily focused on reviewing, critiquing and celebrating the work of writers and poets from diverse backgrounds, giving them a platform to showcase their incredible work. Added to this, the people behind the journal are also from diverse backgrounds.

Along with excellent poetry and prose, we've been fortunate to always get great interviews, like David Byrne from the Talking Heads in the latest issue, as well as having a full-color art profile of a local artist, accompanied by an art essay from Michael Salcman. There is good bit of content for different kinds of readers.

Each of our titles interprets our mission in its own way.

We read absolutely every word of every piece, and with each rejection we almost always include a few lines of constructive criticism. We're picky, but we're also writers. Your work will be read, discussed, considered, and if it's not accepted, you'll know why.

That we fall way more in love with what the piece is saying than necessarily how it is being said - recreating the wheel just for the sake of recreating the wheel means absolutely nothing to us. Of course, bad poetry is still bad poetry and should be considered (and treated) as such ...

Guest edited by fellows of the Black Earth Institute, speaks to art serving the earth, social justice and the human spirit.

Our editorial staff is a one-year constitution, meaning every two issues, our taste-testers get swapped out. Traditionalists give the baton to experimentalists, experimentalists to formalists, formalists to lyricists, lyricists to minimalists, etc. We are a kinetic publication with an always-evolving nucleus of staffers. If you didn't get published in 2013, try again; the alumni are loooong gone.

We are a 100% free journal, a true community art project distributed all over the Great Basin area for free. We also provide both a print journal and a complete online journal as well, so you always get published in both mediums with us. Not many magazines can say that because they don't want their entire print journal online for free.

We have a diverse cast of staff readers, and we're very committed to having more than one person read every submission. We try, as much as we can, to allow OxMag to accurately reflect an entire staff's tastes and interests, which can sometimes diverge wildly.

Futures is the science-fiction column in Nature, the international weekly journal of science. It also appears in the monthly sister journal Nature Physics, meaning that we have space for about 63 stories a year. It also means that a lot of our readers – and a lot of our contributors – are working scientists. We have a very strict 850-950 word limit, so your vignette needs to be tightly structured to do its job in the space allowed.

Only one editor in four is still young enough to drive. We are old. We've seen many publications and trends come and go since we began publishing our own work in the early 1960s. What we treasure is the chance to share what we see when our eyes are closed with the many younger writers today who have so much to write about and so many skills they can't blink fast enough.

We try to feature a variety of styles and themes—we like narratives from all places, walks of life, viewpoints and voices. So don't be afraid to take a chance with us. All we ask is that you send us your best work.

Volume, each issue we publish is the equivalent of a 400 page book

Mother Tongue Ink publishes creative work by women, celebrating earth-based spirituality and visions for a changing world. Since 1981, MT Ink has published We’Moon: Gaia Rhythms for Womyn, the earth-spirited handbook and unique collection of inspired art and writing by women. We are in our 33 year of publishing this annual datebook, 240 pages of riveting full-color art and amazing poetry and prose. We publish work by about 120 artists and writers every year. One of our missions is to promote women working on the creative edge, and each writer/artist is given the opportunity to advertise with a byline in the appendix. We also publish a wall calendar: We'Moon on the Wall, and a 6-pack of Greetings Cards every year. We keep our submission process simple and free, and encourage women to share their creative contributions weather their work has been published or not. We're always available via phone or email to assist with the process of completing the licensing paperwork. Because of our open-arms-submission-policy, we receive an abundance of rich, off-the-wall, edgy, inspiring material. Our selection process begins in the community: We take all of the submissions on the road for the month of September, to be opined by over 100 volunteer participants around the sate (we hope to bring this process to the East coast some year) Then we skim the most well loved work off the top, and work with that 20% or so in our small group consensus production process for final selection. This is a labor of love, to be sure!

Our editorial staff morphs each semester, opening us up to new writers, new voices, and new styles of writing. We are one of the few university-based literary magazines to publish short plays in addition to poetry, essay, and fiction.

Ecotone Journal is unique in the way that it is run by two communities: graduate students obtaining their MFA degrees at UNCW and a small staff of super-talented editors. Ecotone Journal is committed to excellence in literature and design and it realizes these goals through the help of young writers as well as seasoned professionals. It's a balance that shows itself not only in the publication, but in the graduate class offered to those students ready to work
Ecotone is also special since it's the first home and incubator for stories, poems, and essays of Lookout Books authors.

The Satirist is unique in publishing both literary satire and serious reviews.

A personal touch and always giving a reason for rejection and often a brief critique, never a form rejection.

In addition to fiction, nonfiction and poetry, we also publish visual art. Our cover is selected from submitted artwork, as well as black and white prints inside the journal.
We don't have a particular aesthetic; we like to think of ourselves as edgy and quirky, and we publish quite a bit of work that leans toward experimental, but quality is always the main consideration. Because we have a rotating staff (main positions usually change annually), our collection of tastes rotates as well. So if the current group of editors aren't fans of a piece, the next group might be!
I also love that we give emerging writers and artists the opportunity to be published alongside well-known contemporaries. We've had debut authors in the same issues as Sherman Alexie, George Singleton, and Billy Collins. Our 2013 Beacon Street Prize fiction winner, selected by Heather McHugh, is also a debut author!

Because every issue of Sein und Werden has a theme writers and artists are encouraged to come up with something new, rather than rummaging through the dregs of their unpublished work. Having a theme also promotes interpretative creativity as contributors translate the subject in diverse and often surprising ways.
We publish a lot of 'experimental' work which other publications might shy away from. By this I mean non-linear texts, uncertain characterisation, style over substance, non-formulaic stories and unusual narratives. I am also interested in snippets of work, drafts and essays on the creative process.
I see Sein und Werden as an ongoing project, rather than a series of individual issues of a magazine filled with individual contributions, which constantly mutates and evolves, hence the name (= Being and Becoming) and I often enlist the help of contributors to guest-edit, write reviews and compose e-books etc.

Like many publications, we seek to publish the best possible work we can find. What sets us apart is the post-acceptance collaboration with a visual artist that makes a submission into a Broadsided publication. That, and the fact that our distribution is grass-roots, global, serendipitous, and viral. Our publication is free for anyone with access to a computer, and our goal is to get as many of our publications as we can out onto the streets where random passers-by might encounter them.

We publish on a rolling basis, guaranteeing there is fresh content coming up all the time. We have an international knowledge and scope that's unparalleled by most publications. We also have an international constellation of editors who cover a range of creative areas (e.g. performance text, art, translation …) so our reach is truly borderless.

While there are a number of green publishers out there, few, if any, focus on eco-fiction. Eco-literature currently tends to be defined by nonfiction, and we hope to change that. A lot of environmental nonfiction can be depressing (though it's vital!), and we hope to inspire awareness and change through great stories. Another thing that sets us apart a bit is that we're open to all genres -- for example, we've published an eco-mystery, a short story collection, and a literary novel, all with environmental themes.

It is specifically for women 'of a certain age'. Mostly our readers will be users of the Hysterectomy Association as the publication supports its work.

Many seem to publish science fiction whose writing is just as bad as our fond pulp roots. Luckily, our taste is superior.

There aren't many opportunities for writers to publish a collection online (aside from self-publishing or blogging). We focus on small collections by one or two authors in each issue, aside from the annual themed anthology which features several authors. All work is edited carefully (we work closely with authors, who have final say). This is an electronic publication, essentially a web site, that is well designed with easy navigation between pages. When appropriate we enrich the material with hyperlinks. We also include a pdf of the e-chapbook, which can be downloaded and printed. We charge no fee for submissions. Authors receive a token payment, $65 for a collection.

We like good, solid, well edited work with an edge.

The tastes of the editors.

We offend more people. Also, we have larger balls. And we're smarter, and have better taste.

People say we have an actual personality, an entity beyond a book and a name, and I think people find this refreshing and welcoming. We read blind, publish an extremely wide range of genres, have no rules about content (though it must speak to a literary audience), and play no social politics in terms of soliciting or accepting work.

We are willing to take a chance on material and writers that excite us, no matter their credential.

The magazine is praised for its attractive, uncluttered layout, the written word laced with visual artwork (our USP). Being the literary magazine of the North East of Scotland, we set great store by including stories and poetry in Doric, the unique and rich dialect of the area, alongside literature in standard English and Scots. We also welcome, indeed encourage, contributions from all over the world

Well, I can't really say since I don't know what other editors' processes are. I can assure submitters that my staff and I discuss our decisions at length (in other words, there are no snap choices). As clichéd as it sounds, we only publish material that speaks to us. If that means that we’ll go a few weeks without publishing something (because we haven’t selected anything), so be it. We’d rather publish something special every month than something average every week. In terms of aesthetics, I like to think that our publication looks very inviting and cool. It’s also very easy to navigate.

I would say our consistent attention to craft and sympathy toward the goals of the artists we publish set us apart from similar journals.

Readability. Our readers come first, and by all accounts our authors like our presentation.
Layout: Bewildering Stories has a unique appearance, and the site is very easy to navigate.
Content: Bewildering Stories is an on-line library of fiction and non-fiction ranging from novels to short poetry.
Works in languages other than English: Our "Translations" index lists titles in languages from Chinese and Esperanto to Tatar and Turkish. Stipulation: we need an English version to accompany the original text.
Interaction: Everything in Bewildering Stories is open to discussion in both correspondence and our regular issues. And we have one ironclad editorial rule: we never tell a contributor what all writers hate, with good reason: "It didn't grab me" or the equivalent. Any submission constitutes a request for our opinion. If we can't accept it, we always say why.

We hope we don’t publish material that is similar to other journals/magazines. What use would we be if that were the case?

I'd say the sheer quality of our contributors. In addition to our hard-working editorial staff, there's an entire practicum dedicated to finding the best writers out there, whether they're established professionals or up-and-coming talent.
Also, The Fourth River is used to both support and promote a creative writing program dedicated to innovative community programs such as Chatham's award-winning Words Without Walls prison writing program and our annual Bridges festival.

At The Blue Route, everyone's opinion is important and valuable and so is every piece of work we receive. We work as a group to analyze each piece to figure out which pieces are not only the best, but that emphasize key thoughts and foundational ideas we share as writers and readers.

Besides the fact that we publish on postcards?
Well, we only publish one piece (in print) and up to four pieces (online) every month. That means that every piece published, even though they all have fewer than 150 words, has its own space-- it's a centerpiece for a month, and gets the attention it deserves.
Also, for our postcards we spend days creating artwork to match. The final product is (hopefully) more than just a short piece of writing-- it's a beautiful, cohesive item that readers can share, hang up, pass around.

One of the differences between Mocha Memoirs and other small presses that publish similar content is our dedication to publishing speculative works with people of color as protagonists. While this is not our main focus, we love a good story above all else, we do seek to promote those works that may not receive publication from more traditional or mainstream publishers. Another distiction is our continued promotion and acceptance of smaller works. We accept short stories and novellas for electronic publication.

We do not publish writers who have made it by being New York insiders or insiders of any kind. We focus on a level of mastery with creative work as our primary criteria for publication.

As each issue of The Los Angeles Review is dedicated to an important West Coast writer, each issue is informed by that writer's body of work. Also, as a West Coast publication, we are interested in publishing work that pushes boundaries and speaks to readers outside the eastern literary scene or the academic community; we're a journal for lovers of literature, and we bring our readers the best from across the country and across the globe. We also feature an extensive book reviews section, critical articles, and interviews. Finally, our journal values gender parity, and we publish equal proportions of male and female writers in each issue.

We welcome not only poetry, fiction and creative non-fiction but also critical work, interviews and book reviews.

We don't take ourselves too seriously, and we like people to have a go. Maybe you're just trying out your story telling or poetic skills and want to put the result in a quiet backwater of the internet? Try Winamop.
We've had quite a few people start with us and go on to great things, they pop back in to say hello occasionally.
Others become regulars because it's a nice place to be.

It's a unique gathering of voices with a related sensibility, though no party line.

We only publish writers and artists that have a connection to the city of Chicago. As our city, we are not about high-brow academia, we are about real people and experiences. Which is not to say that we do not look at craft, we want well crafted work that does not have a sense of itself.

We cross many categories, so that we publish poetry and memoir, short stories and critical articles, essays about books and essays about the performing arts. We publish long pieces (up to 4000 and sometimes 5000 words), but we also have specific places in the magazine (Table Talk, the Symposia on various subjects) where we publish very short essays. We judge everything in terms of its quality of writing, so that nothing gets in just by subject matter. And we accompany our writing with beautiful artworks (mainly black-and-white photographs) so that the magazine LOOKS great. Our format -- tabloid size on good-quality paper -- also sets us apart from most "little" magazines that publish fiction and poetry.

We are not the only publisher with this policy, but we do not discriminate based on race, gender, religious beliefs or sexuality, and our publications often reflect this.

We do audio readings with some sound production - this highlights the storytelling quality that is so important to some strains of horror and supernatural fiction. We do minimal sound production (we are not an audio drama podcast - we produce dramatic readings, not full cast performances) and prize readers who understand that the reading is a performance.

Our commitment to international literature. Our commitment to art. Our commitment to the slush pile (nearly all of the work we publish is unsolicited). Our commitment to making every issue stronger and better than the one before.

We give considerable space to our contributors. In one issue we have published two of David Updike's stories. In another issue we published three chapters of Domingo Martinez's memoir The Boy Kings of Texas. We have also published successive chapters of A.B. Meyer's memoir Keep This Fortune in successive issues. We published poems and an essay of Derek Walcott. We published a 34 page poem Talking Head of poet George Franklin. Generally we give lots of space to poets approximately 5 to 10 pages per poet.
We follow and promote all of our writers well past their publications.
We provide five complimentary copies to contributors.
We are distributed in Barnes and Noble as well as many independent bookstores.
We read everything carefully which is why we are slow.

My authors. They are the best because of their willingness to work hard to produce emotional stories that readers will remember long after they shut off their e-readers.

We’re willing to take chances on new voices, unusual forms, and surprising work. We call ourselves Barely South because we sit in a unique area where all different kinds of boundaries are in a state of flux. We’re also fairly new – so we’re less rigid in how we make choices than other journals can be.

No other publication encourages writers to slice through urban space, to rediscover the dirty magic of the street by walking and recording.

The quality, integrity, and vulnerability of the writing.

We have a lot of experience of working with writers, and do our best to treat their work with respect. Contributors earn our lifelong gratitude.

We started Defenestration because there weren't many all-humor markets out there. One day humor markets will outnumber the serious ones. We just hope our minds have been implanted into undying robot bodies by then.
We publish everything. Poetry and short stories are published three times a year in an online magazine format, and artwork and nonfiction pieces are published weekly. We also have regular columns and a weekly webcomic. We like to blur the lines between fiction and nonfiction, as sometimes fictional material comes our way that can't really be classified as a story in the traditional sense. Over 50% of the nonfiction we publish is, in fact, completely fictional. "Fake nonfiction" isn't an established genre yet, but it should be. We're working on it.

We aim to make every issue significantly different from the last.

To my knowledge, there are *no* other publications like Eternal Haunted Summer. There are print and online publications which focus on Pagan-themed nonfiction, such as witches&pagans and The Wild Hunt. And there are print and online publications which focus on a particular tradition within the Pagan umbrella, such as Hex (Heathen-oriented) and SageWoman (Goddess Spirituality). But EHS is the *only* ezine that accepts poetry, short fiction, essays, reviews and interviews from *any* Pagan tradition.

Nobody is as transatlantic or cosmopolitan or as culturally diverse as we are. Most literary publications are focused in a particular region or country or continent. We look only at publishable, young, enthusiastic talent.

We are no better, or no worse, than other publication that publishes similar material.

We explore the classic fairy tales. We want re-imaginings of tales like "Snow White," "Cinderella," "Beauty and the Beast," etc., that make them new. We do not want stories retold simply with new details; we publish stories and poems that re-see the old tales in new ways. We also do not look for brand-new fairy tales from scratch, as some publications do. We love those, but that is not our mission.

As a reader I have always enjoyed a wide variety of fiction, from westerns to science fiction to heroic fantasy to brooding mainstream literature. That eclectic variety shows in each issue of NewMyths.com, which tends to have wider variety of stories than your average magazine. I do believe that an editor's taste, and how similar it is to the reader's, is the most important determinant in whether or not the reader will enjoy the magazine. The only real way to know is to read a couple of issues.

We have a strongly Alberta focus and we introduce first time authors to major names. We are the talent scouts of Canadian literature.

Eclectic editorial tastes and a commitment to very swift responses.

Our e-publishing quality, both in appearance and in content, sets us apart. We are open to new authors who are talented but untried. We are flexible and good-natured in dealing with authors and work hard collaborating with them in order to produce a great product. Our genres are broad-based and offer a lot of variety. We work hard to get our books out into every available e-market, even having our books available on the android platform.

While Asimov's primarily publishes well-written science fiction stories there is also room for the occasional fantasy, story about science, and story that's a borderline mainstream tale with fantastic elements that are hard to quantify. This philosophy results in an eclectic mix of tales, but, apart from the occasional ghost story, you will rarely find a supernatural tale in Asimov's and we publish almost no horror.

We encourage and promote creativity in the Midwest and around the world. We publish an eclectic mix of fiction, essays, interviews, articles, poetry, and art. We seek established and emerging voices for our annual publication.

Stories with a narrative arc.

I started out wanting to have all my favorites in one spot for reading--one big ol' ever evolving anthology of today's underground poets. I guess I did that.

We are a regional journal publishing writers only from the Pacific Northwest, Western Canada, Alaska, Yukon Territory, Hawaii and Chukotka

Variety of material.
Irreverent forms.
Coolness factor.

I put literary quality first and political "message" second.

J Journal is the only literary journal in the country that published creative writing framed by the justice issue. The journal's most successful work approaches the justice question tangentially rather than directly.

Our evaluation process is transparent, meaning that you can go to the sight any day of the quarter and get fresh intelligence on the progress of the specific submissions making their way up through the hierarchy: from Floor to Terminal to Executive Suite.

We don't mind working with new authors, asking for rewrites. We like any genre, as long as it has some literary bent to it. We don't mind a good western or sci-fi, and we'll judge it using the same criteria as traditional literary prose. Our waiting times are reasonable; our staff love what they do and don't mind having conversation with you about your work.

We are a 501 (3) nonfprofit and have a mission to publish previously published writers along with up-and-coming writers and writers on the margins; that is, selected writers from prisons, veteran's groups, writers on probation or parole, rehab groups and so on. We're looking for writers of diverse backgrounds, whether that is economic class or ethnic or cultural or political.

Broad list parameters and aggressive marketing

Blackbird publishes outstanding poetry, fiction, creative nonfiction, and drama, as well as multi-modal works such as process presentations in the visual arts and video essays. The journal takes advantage of its electronic production to include audio, video, digital photography, and other modes of presentation not possible in print, while continuing to exercise the judgement and careful selection inherited from the traditions of the best print journals.

Three-lobed seeks stories that do not fit neatly into any genre category. Terms for this might be: speculative fiction, magical realism, slipstream, cross-genre, mulatto, pariah. We aren't afraid of a literary non-fantastic piece, as long as it's a good story.

We solicit all genres of fiction in short story format.
We give edited manuscript, feedback and personalized replies to all who submit is fiction or artwork - irrespective of the story/art being accepted or rejected.
We pay when we can, such as the annual anthology (compilation).
All readers can read all the stories for free without requiring to login/ register.
We send nominations to Pushcart Prize to support our authors.
We celebrate our fiction and authors and artists by posting any promotional material they would like us to post at our FFJ website.
We always introduce our authors with a short bio and then their story follows.
Simple PDF downloads which can be printed and shared under Creative Commons non-derivative non-commercial license.
We are open to multiple submissions and reprinting of published works.
We survive because our readers and writers care just as much as we care for their work.

By publishing twice monthly, we keep our content fresh. For online publications, brevity is of great importance. The shelf life isn't as long online. The flash fiction format is perfect for cyberspace.
Also, our focus on darker themes, without delving into any specific genre (such as horror or science fiction), sets us apart from the purely literary mags out there while still maintaining a literary bent. Basically, we want to have it both ways.

Though this might not set us apart, Subtropics is run and edited entirely by writers.

We were the first podcast SF magazine, and we maintain our dedication to fun. We may publish the occasional serious tale, but the depressing world of dystopian child slavers is not what we want, no matter how literary. Humor is a plus, light-hearted and thought provoking is always good.

Liars' League is unique in that our actors read the stories, not the writers. Once we select the stories, we "cast" them with trained actors from our company, who then rehearse and finally read the stories in front of a live London audience. This not only means that the writers can relax with a beer and watch their stories being performed, but also that overseas authors don't have to fly thousands of miles in order to have their story read (although some have ...) Our night is basically a cross between a performance and a reading: live literature at its best! We also record the stories as MP3s so that people can listen to them on the website (www.liarsleague.com) or download them as a podcast afterwards.

I think its our attention to details, plus our reputation formed over the past fifteen years. Because we're staffed by graduate students, editors change every year but somehow we've managed, very well I think, to maintain and improve on the quality of the writing that distinguished the first issues.

We publish stuff that gets to the core of things and is hard to forget. And we try to present it in a visually appealling format. Some of the writing we publish may have been overlooked by other publications. We have no guidelines because we think it is not fair to tell a person how or what to write.

The focus on achieving a balance between form and content. Also, I take a fine-press printing approach to the typesetting and page layout, and treat each page as a mini-work of art.

Six Sentences features a social network, innovative writing contests with cash prizes (and no entry fees), free giveaways, new print anthologies every month, and 4 seasonal short film festivals based on the writers' work (also with cash prizes). The site has been named for 2 consecutive years by Writer's Digest Magazine as one of the "101 Best Websites for Writers." (2009-2010)

First, we review all stories without knowing who wrote them. Your reputation will not get you into our magazine! Second, we publish a broad range of genres from literary/mainstream to fantasy, sci-fi, horror, and comedy. Third, we seem to be more willing to work with writers of intermediate skill than many magazines. Finally, although this does not make us unique, we require that stories use the premise of the contest the author is entering.
But it's really the "blind" reviewing and our broad range of tastes that set us apart.

Ireland’s premier literary journal, combining a large general readership with outstanding writing from Ireland and overseas. Variously described as “a wonderful achievement” (Michael Longley); “a major development in Irish literature” (John F. Deane); and “the most important cultural journal in Ireland at the present moment” (Jonathan Allison). Offering an unrivalled window on the literary and cultural life of these islands – and further afield.
Our policy is to publish poetry, short fiction, essays, creative non-fiction, memoir, essay reviews, nature-writing, translated work, literary journalism, and other autobiographical, historical, religious and scientific writing of literary distinction. There are no standard reviews or narrowly academic articles. Irish Language and Ulster Scots writing are published in the original with English translations or glosses.
Each issue assembles a carefully edited mix of English and Irish, prose and poetry, fiction and non-fiction, style and subject matter, in an overall fit aimed at a wide range of reading tastes.
We wish the journal to be read widely and each issue’s careful mix of genres and styles is essential to the magazine’s appeal outside the ghetto of the literati.There is an especial commitment – uniquely for Ireland and perhaps Britain, at least in a literary journal – to nature/ecological writing as well as ‘creative non-fiction’/the essay.And although each issue will carry at least one and often two pieces of fiction, part of the thinking behind this mix is to provide an antidote or alternative to the enormous critical and commercial attention that is given to the various genres of fiction, at the expense clearly of other genres, whose
historical/ ethical/social value is surely no less.
One wider background aim is to give the journal a distinctly dissident edge, to inhabit ‘the space outside’ the Pale of the Received – business-as-usual in all its (especially Western) forms: literary, intellectual, cultural,
social, political.Thus, the journal has a particular (though hardly exclusive) commitment to work informed by ‘the ethical imagination’. We believe that there is a huge thirst for this kind of writing – writing of ‘high
artistic consciousness’, but in the thick of the world and its dilemmas – and that it is immensely important for our increasingly complex global life.You might call it the literary equivalent of an NGO audience: all those potential readers for whom ethical issues count.

What sets Terrain.org apart is the compelling mixture of literary and technical work in theme-based issues presented in the most attractive and dynamic online format possible. There really isn’t anything else like Terrain.org, online or off. Each issue includes editorials, poetry, essays, fiction, articles, reviews, an interview, the ARTerrain gallery, and the UnSprawl case study. All issues are archived indefinitely, so it continues to serve as a resource and virtual oasis of sorts.

Its regional character plus its focus on the literary space of experiential endeavor.

How are we different? First of all, versus many other magazines, we do not require first time publishing rights, or previously unpublished work. (Okay, some places agree with that.) But when we have been asked about rights for accepted writings, we make this clear: by submitting writing to us, you are giving us the right to broadcast your work. The accepted writing is always retained (rights-wise) by the writer, and the writer/artist can do whatever they want at any time with their work.
In 2007 through 2009, we printed (in addition to monthly saddle-stitch issues) perfect-bound collection books as collections of a number of issues (and chapbooks, which are supplement issues to he magazine). All accepted writing in any given year is also considered for a Scars Publications annual collection book as well.
Because of the format change in issues in 2010, where all issues are now monthly perfect-bound paperback books, we may not release a collection book of issues (only time will tell).
Since I mentioned chapbooks, when we accept chapbooks for publication, an electronic copy is released (as a PDF file), it gets the same ISSN number as regular issues, and is considered in any annual collection book release (which means it has another chance of bring published in another format). We also also take all of the writings from within the chapbook and include these writings in the writings section of http://scars.tv (probably the most frequently visited portion of our site), so people can see writings from chapbooks immediately onl ine with links to the chapbooks they were publihed in as well.
Oh, here I go, talking about rights accepted writers get, or how we publish in different formats - web pages, PDF files, perfect-bound print books, sometimes as CD releases or youtube video files with or without background music (which might not be what really sets us apart). What we put together might set us apart - the combination of poetry, then prose, all with interspersed artwork is unique. In the past we have had editorials at the beginning of issues (under the heading "the boss lady's editorial"), and we have listed performance art supplement sections to issues (with artwork and sometimes with live photography from the performance).
Check out past issues to see the eclectic mix in cc&d magazine, and you may see how unique it is too.

We do not solicit and treat submissions objectively, regardless of who wrote them; we have no slush pile.

Those one-off stories that occasionally get published by another journal -- maybe, if the editor’s feeling generous -- are the stories we actively look for. We want the stories that don’t fit into the traditional definitions of speculative fiction or literature. No hard sci-fi or fantasy, no sober melodramas. Pretension tends to be shot on sight. We want writing with a sense of humor, that isn’t afraid to be a little strange if it has to be.

As a small magazine, I think we have a niche for a particular flavour of political speculative fiction and cyberpunk flavoured stories. We work very closely with authors and artists and produce regular, very tight issues of the best content that we can find. We tend to be proactive in looking for certain kinds of story, themes and flavours of writing, and we try to be as helpful to authors as possible.