Tag: publications

Speculative fiction publication: Interzone


What: Interzone, full-color print magazine with a glossy cover, published by TTA Press in the UK
When: 1982 to present
Who: Editor: Andy Cox; Assistant Fiction Editor: Andy Hedgecock
How: Subscription (as converted to U.S. dollars by the website): $68.49 for 12 issues, $36.98 for 6 issues, $369.83 for lifetime
$: Pay: below pro rates

Right now, this might be the science fiction publication I admire most—in part, no doubt, because the design and production quality is so high. But they do run a lot of stuff that doesn’t interest me that much.



Science fiction publication: Terraform

What: Terraform, a production of Vice‘s Motherboard that puts out one fiction piece per week
When: 2014? to present
Who: Looks like it’s edited by Claire Evans and Brian Merchant, or at least was at the start; the story commentaries are currently by Becky Ferreira
How: Free online, plastered with ads—each story is interrupted by multiple ads, it feels like
$: The impressive sum of $0.20 a word
Typefaces: Open Sans, CalvertMTBold, TazuganeGothic

A fun read. I’m not a big fan of the commentaries, which basically rehash the themes or the science fictional elements of the stories.


Literary fiction publication: The Cincinnati Review

What: The Cincinnati Review, a print and digital magazine with an online edition
When: 2003 to present
Who: Managing Editor: Lisa Ampleman
Fiction Editor: Michael Griffith
Masthead here
How: Charges a reasonable $15 a year, or $5 for a single digital issue; more prices here
$: $25 a page for prose; see guidelines
Typefaces: Open Sans

While the website design doesn’t strike me as very literary magazine-like, I’m fairly impressed with what I’ve read so far. Thoughtful and complex.

Publishes a lot more poetry than fiction, it feels like.

Science fiction publication: Asimov’s Science Fiction

What: Asimov’s Science Fiction, a print science fiction magazine with a digital edition
When: 1977–present
Who: Founded by Isaac Asimov himself, currently edited by Sheila Williams; doesn’t have a masthead on the website
How: Subscriptions start at $17.49 for six months
$: 8–10 cents per word for short stories up to 7,500 words, and 8 cents for each word over 7,500
Typefaces: On the website, Lato, Roboto

I haven’t read many issues of Asimov’s—in fact, I’m not a hundred percent sure I’ve read even one—but Asimov’s stories get reprinted so often that I’ve absorbed a lot about the magazine indirectly.

“SF dominates the fiction published in the magazine, but we also publish borderline fantasy, slipstream, and surreal fiction.”


Literary fiction publication: Ploughshares

What: Ploughshares, a literary magazine
When: 1971 to present
Who: Ladette Randolph is Editor-in-Chief; Ploughshares is unusual in that every issue is guest-edited
How: Subscribe, shop
$: Pays fiction writers $45 per printed page, $90 minimum per title, $450 maximum per author
Typefaces: The first two fonts in the website CSS are Droid Serif and Georgia

Good magazine. The blog is sometimes interesting.


Literary fiction publication: The Gettysburg Review

What: The Gettysburg Review, a quarterly print and digital literary magazine
When: 1988 to present
Who: Published by Gettysburg College

Editor: Mark Drew

Managing Editor: Jess Bryant

Marketing & Circulation Manager: Kristin Koontz

Editorial Assistants: Drew Ciminera, Christopher Kempf, Jeff Mock, Margot Schilpp, Corey Van Landingham, Mindy Wilson

Interns: Ivy-Rose Kramer, Jahnvi Ramaiya, Mikki Stacey, Nicole Cvjetnicanin

Founding Editor: Peter Stitt

Advisory & Contributing Editors: Lee K. Abbott, Rita Dove, Rebecca McClanahan, Leslie Pietryzk, Philip Schultz, Paul Zimmer

How: Sells subscriptions ($35 for one year of print), issues, T-shirts, also advertising
$: Duotrope says, “Pay ranges from Semi-pro payment (1-4.9 US cents per word) to Professional payment (5 or more US cents per word)”

According to Wikipedia, Ron Tanner said in 1994 that Gettysburg Review stories “are clearly in the mainstream of contemporary American fiction—you will not find ‘experimental’ work in the Gettysburg Review.” The journal itself says, “Aesthetically, we are open to most styles and approaches and are always interested in stories, whether more traditional or experimental, that are off-beat, penetrating, and surprising.” They go on to say, “We do not publish genre fiction—mystery, crime, science fiction, fantasy, and the like—but are certainly not opposed to considering work that self-consciously employs the tropes of formulaic writing for more sophisticated literary ends”—even though they’ve had stories anthologized in Best American Mystery Stories.


New template for publication entries

Title, description of publication
Date of origin and ending, if any
Editors, staff, credits
Funding, business model
Payment to fiction writers
Typefaces, if known
(For print publications) How to get a word count

Horror fiction publication: Pseudopod


Pseudopod, a podcast of short horror fiction


August 11th, 2006 to present


There’s no About page or anything similar, which means you have to check Wikipedia and the forums for information, but here goes—coedited by Shawn M. Garrett and Alex Hofelich; formerly edited by Ben Phillips; as of June 16th, 2015, Moaner T. Lawrence is the new Assistant Editor of submissions; there are a number of associate editors identified only by their first names; hosted by Alasdair Stuart; cool intro music by Anders Manga; website graphic design by Jonathan M. Chaffin


Like all Escape Artists podcasts, Pseudopod is free online, with a few unobtrusive audio ads; relies on donations and subscriptions (starting at $2 a month); they also sell audio discs and T-shirts and accept other forms of support


As of June 16th, 2015, pays $.06 per word for original fiction up to 6,000 words (pro rates), a $100 flat rate for reprints, and a $20 flat rate for flash fiction stories (under 1500 words)


From the website stylesheet—Verdana, Arial, Helvetica, sans-serif

This podcast has been growing on me. Alasdair Stuart has a certain warmth and earnestness that make it feel welcoming, without detracting from the horror.

The blanket content warning also feels welcoming to me, though like all content warnings, it’s an imperfect compromise between warning listeners and spoiling them. I suppose the ideal compromise would be to include detailed content warnings in a separate, easily ignored, but easily accessible file, with the detail increasing as the user listens or scrolls down. The standard podcast format doesn’t allow for anything so elaborate.

It’s worth noting that this podcast defines its genre very broadly. There are plenty of straight-up funny stories with no horror elements, only horror tropes (werewolf presidents, hapless murderers). Speculative elements are not required.

Pseudopod has won two Parsec Awards and has been a finalist several times.


Speculative fiction publication: Clarkesworld Magazine

Clarkesworld Magazine, a monthly science fiction and fantasy magazine with a lot of multimedia stuff

October 2006 to present


Affordable subscriptions, plus a ton of free stuff online; see also the Support Us page

For fiction, pays 10¢ per word for the first 5000 words and 8¢ for each word over 5000 (pro rates)

Website typefaces: Verdana for the stories and articles, something modern-looking and sans-serif for the titles, Georgia for the bylines

Going through my Clarkesworld tag, I’m impressed. They print a lot of ambitious and subtle work. I wouldn’t say I love any of the pieces I’ve read in Clarkesworld, but I respect them and think about them a lot. Of course, the ones I’m most likely to read and remember are the Hugo and Nebula nominees (this magazine gets a lot of awards and nominations).

They put the word count at the bottom of each piece, which is nice.

They always put an author photo in the sidebar to the right of each online piece. And under that an author bio, which tends to be three or more sentences long. It’s not a major distraction, but it irks me a little.


Literary fiction publication: One Story

One Story, a magazine containing nothing but a single short story (3,000 to 8,000 words long), published digitally and in a neat pocket-sized pamphlet, every three weeks

2002 to present

Editor-in-Chief: Hannah Tinti, who won the PEN/Nora Magid award for her editing in 2009

Subscription is only $21 a year in the U.S.; run as a 501(c)(3) not-for-profit

Pays writers $250 per story + twenty-five contributors’ copies

Awards and recognition: in Clifford Garstang’s Pushcart Prize rankings for fiction, One Story scored 56 in 2013, 59 in 2014, 68 in 2015, placing in the top ten all three years; see also the awards page

Typefaces: ?

Mixed feelings about this one. It’s the most affordable and most portable magazine I know, and I respect it for its consistently high quality. But like all literary fiction, it’s hit or miss with me. I subscribed for a few years, and I’ll probably subscribe again soon. Being able to keep a whole short story in your pocket is a great feeling.

No author photos, thank the gods. Author bios: Looking at 2013 through June 2015, the shortest ones are three sentences, two sentences, three, two very short sentences, three longish sentences, two, three, three, three.  (Personally, I’m a big fan of one-sentence bios.) A lot of author interviews online—one for each story. I guess that’s okay.

In 2013, they published their first comic, “Drawn Onward,” by Matt Madden.