Top 50 Literary Magazines

 Taken from: http://www.everywritersresource.com/topliterarymagazines.html

 Find a complete listing of literary magazines here.

Our criteria for this list has changed and we feel the literary magazines on this list are much better ranked than our previous list. It’s always hard to build this list, but we looked about close to 20 data points in coming up with this list. The most important criteria we used this time was date of founding, number of national anthologies publications (and we looked at a lot of them), and the quality of work of and names of passed greats published in the magazines.

The purpose of this list is to help writers find a place to publish their writing that will get them some recognition. We feel when a magazine is published over a long period of time and is recognized nationally we feel it gives the authors more opportunity for exposure. Also these magazines tend to have a very good name in literary circles. We know that many will not agree fully, and some will feel we’ve left a good or great publication off the list. That’s okay. The best thing to do is go to our message boards and post your opinion under our top 50 boards and make a case for adding it to this list.

This list also includes BOLD type where literary magazines take online submissions. We feel this is an important step for a magazine to take. We feel that by taking submissions online magazines are opening themselves up to many more voices and have a better opportunity to find new talent that we want to read. To this end, we have a suggestion. Go down this list and pick out a literary magazine that takes online submissions. Go to their site and submit your work. Also while you are there buy a subscription. Support those who support writers.

 

  1. New Yorker http://www.newyorker.com
  • The best of the best. We didn’t have any commercial magazines on our last list, but it was a shame to leave this literary magazine out. After lots of emails here it is one the oldest and the most honored magazine of all. Started in the 1920s and has a circulation of over a million readers. Online submissionshttp://www.newyorker.com/contact/contactus Continue reading

The Unexpected Antidote to Procrastination

by Peter Bregman

A recent early morning hike in Malibu, California, led me to a beach, where I sat on a rock and watched surfers. I marveled at these courageous men and women who woke before dawn, endured freezing water, paddled through barreling waves, and even risked shark attacks, all for the sake of, maybe, catching an epic ride.

After about 15 minutes, it was easy to tell the surfers apart by their style of surfing, their handling of the board, their skill, and their playfulness.

What really struck me though, was what they had in common. No matter how good, how experienced, how graceful they were on the wave, every surfer ended their ride in precisely the same way: By falling.

Some had fun with their fall, while others tried desperately to avoid it. And not all falls were failures — some fell into the water only when their wave fizzled and their ride ended.

But here’s what I found most interesting: The only difference between a failure and a fizzle was the element of surprise. In all cases, the surfer ends up in the water. There’s no other possible way to wrap up a ride.

That got me thinking: What if we all lived life like a surfer on a wave?

The answer that kept coming to me was that we would take more risks. Continue reading

Of Memory and Story

Writing a memoir: Intersecting memory and story

Writing a memoir is one of the most stimulating but difficult literary challenges an author can undertake. Nevertheless, it’s a hugely popular genre. Five of the top ten hardcover nonfiction books on the NY Times bestseller list this week are memoirs.

Aspiring memoir writers can find help in books and by searching online, but there’s nothing like a live workshop with a master teacher.

One highly recommended instructor is Tamim Ansary, the Afghan-American author of the critically acclaimed literary memoir West of Kabul, East of New York (Farrar, Straus & Giroux). This spring, Ansary will be conducting a six-week memoir workshop in the San Francisco Bay Area, so I jumped at the opportunity to ask him about his views on writing and teaching this subject.

What is a memoir and how is it different from a personal journal or novel based on your life?

Click here to read more: Of Memory and Story

Valuable information relevant to all new writers…

Caribbean Book Blog

Breaking the Shackles

“The fundamental cure for poverty is not money but knowledge.” Sir William Arthur Lewis, St. Lucian Nobel Laureate for Economics

Caribbean writers are facing a dilemma. The region is blessed with numerous poets and novelists whose work has thrilled readers over the years.

But if you speak to many booklovers in and outside of the Caribbean, or check out some online message boards where the topic of discussion is Caribbean literature, you’ll find people bewailing how difficult it is to find good books by Caribbean writers, whether it’s in the region itself or in the metropolitan markets.

There is also a thirst for new writers which goes unquenched – again because it’s not easy to find their books in the bookshops. What a shame, considering how difficult it is for new writers – not to mention those from the Caribbean, especially if they reside there – to…

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11 Frequently Asked Questions About Book Royalties, Advances and Money

by Chuck Sambuchino

If you’re going to wheel and deal with literary agents and editors, you’ll end up spending more time than you’d like discussing rights, contracts, advances, royalties and a whole lot of other boring important stuff. That said, I want to address the most common questions regarding how advances and royalties work. In other words, how does the payment process work when you sell a book? Here are some FAQs:

1. How do writers make money?

You sign a contract with a publisher. In exchange for signing over the North American and English language print rights to your book and possibly other rights, as well, you are paid one of three ways:

  1. flat fee: a set amount of money upfront that’s yours to keep. The amount does not change no matter how well the book sells. For example, if your flat fee is $10,000, the amount remains the same no matter if the book sells 10 copies or 10 million.
  2. royalties: a small amount paid to you for every book sold.
  3. advance against royalties: a sum of money upfront to you with the promise of more (royalties) should the book sell well.

2. Which of the three methods above is most desirable?

An advance against royalties. It’s probably the most desirable, and it is by far the most common. It’s like you get both #1 and #2 combined. Let me explain exactly how an advance against royalties would work. For this example, I’ll keep it real simple (for my own sake). Let’s say the publishing house offers you an advance of $60,000 and royalties of $3/book. Note that the upfront advance of $60,000 is not in addition to royalties, but rather part of royalties – meaning they’ve given you royalties for the first 20,000 books (times $3/book) upfront. Since they’ve already paid you the royalties of the first 20,000 books, you will not start actually making an additional $3/book until you sell copy 20,001. The royalty possibilities are essentially endless. You can make $3 a book forever as long as it keeps selling in bookstores and on Amazon.

3. What if my book bombs? Do they get the money back?

Continue reading

5 Tips on Writing First Drafts

by Chuck Sambuchino

Having just completed the first draft of my second novel, I can attest to the fact that writing a first draft is still a lot better than oral surgery, but a good measure worse than folding laundry or even cleaning the bathrooms (which, full disclosure, my husband does). First drafts require starting from nothing and creating something only slightly better than nothing. At least, that’s how my first drafts feel to me. The good news? Now I have something to work with. Fresh from the trenches, here are a few tips on writing the first draft of your novel.

1. Make an outline. Then be willing to leave it behind. Writing an outline forces me to think through some big questions before I begin. But I follow it the way I travel with my husband sans kids: “Hey, Honey, look at this weird little mountain on the map. Wanna check it out?” And pretty soon the story has taken a turn. Sometimes the side trip changes everything, and I revise my outline. Sometimes it’s a dead end. Then I have my outline to get me back on track.

2. Think of your first draft as the clay, not the sculpture. Imagine that what you are doing is digging up clay, just a hunk of stuff from which you’ll create something later. Much of it will be messy and unrefined, but that’s not your problem now. Your job is simply to get from the beginning to the end. Keep digging! When it’s time to write a second draft, you will have your raw material.

Continue reading