72 Pitch Calls, Writing Jobs, Internships, Volunteer Opps, Fellowships, and More

Jobs for Writers (2.14.25) | How to break in to your favorite lit mag, an opp to write about your job search for $350, plus gigs at the Big Five and a few university presses

Feb 14, 2025

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Welcome to Sub Club’s Jobs for Writers!

Happy Valentine’s Day, I guess? I’m personally of the mind that today is a holiday invented by greeting card companies to make everyone feel like crap and yes, I did just rewatch Eternal Sunshine of the Spotless Mind, thank you very much.

Today, we’re looking at How to Break In to all of your favorite literary magazines, pitch calls for music, climate, video games, and parenting, openings at the Big Five and some smaller university presses, a sweet summer gig at 92NY, and much much more. And there’s more than a few gigs in here that I think are keen on transferable skills, too, in case you’re trying to pivot from a non-publishing industry.

TLDR: There’s good stuff ahead.

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How to Break In

Today, we’re talking with Justine Payton, wearer of many editorial hats: guest editor for The Masters Review, CRAFT, and West Trade Review, and editorial intern at Tin House. She’s also the Managing Editor of ONLY POEMS and an editor for Ecotone. Phew!

Below, Justine talks about approaching an MFA without a creative writing background, how she juggles her editorial roles, aiming for opportunities even when they’re a long shot, and the indispensable advice she has for aspiring readers and editors (hint: always be applying!!!).

rachael vaughan clemmons: Tell us a little bit about your background and where you started from.

Justine Payton: I don't come from a creative writing background—my undergraduate degrees were in international studies and economics.

At the age of 30, I applied for MFA programs with materials I had written over the course of a few months. I wanted to pivot into the literary world, both as a writer and as a professional working in the literary space.

rvc: Was there something specific that made you want to pivot into the literary world?

JP: I've always loved reading and writing. I don't regret my decision to get dual degrees in international studies and economics—I think those studies opened my eyes to how the world works in ways that make me a better thinker, and consequently a better writer and editor—but I wish I would've pursued writing sooner.

When I left a bad situation at the end of 2020, I had to start my life over from scratch. No money, no career, nothing. Feeling regret over lost time and lost opportunities, I decided to pursue what I really wanted: to work as a reader and a writer. I was ready to take the risk because, at that point, I felt like I had nothing to lose by trying.

rvc: How did you approach getting more involved as a reader and writer?

JP: The MFA program I ultimately chose at UNCW offered a concurrent post-baccalaureate certificate in publishing, and provided many opportunities to get involved with publishing, from working on the school’s literary magazines, Ecotone and Chautauqua, to working with the independent press Lookout Books. This ultimately provided the foundation for accessing the opportunities I now have.

For my guest editor roles with The Masters Review and CRAFT, I started with TMR as a reader. They have quite an involved process, with a two-round application and then oversight for a month or so on your review of submissions. I knew I wanted to read for a high-caliber magazine, but I was a bit caught off guard by how elaborate the application process was for a volunteer position! I didn't realize how coveted these positions can be.

I had been reading with TMR for a while when they sent out a call for guest editors. It was a lucky shot, really, as they hadn't added new editors in a few years. I had no expectations of getting the role, as they made it very clear in their application that it was extremely selective. But, I figured, why not try? I ended up getting offered the position: a paying gig, with a fixed amount paid to me per editorial letter.

A few months later, their "sister organization” CRAFT needed support with editorial letters. As guest editors with TMR, we had already been screened, and so I now serve as a guest editor for both magazines. It's not always a steady source of income, but when it's there it's a helpful boost. Writing these letters has also led to additional freelance opportunities with people who receive my feedback and want to work with me again. The connections that are possible continue to astound me.

Once I started working for The Masters Review and CRAFT doing editorial feedback, I wanted to explore more opportunities for that kind of work. I did some research into lit mags that I respect and admire, and looked to see if they had editorial feedback options. West Trade Review is an amazing publication, and I discovered they have an inspiring critique team and opportunities for writers to get editorial feedback on full manuscripts, something I'm interested in providing. I emailed with a cover letter and a resume, hoping they would be open to adding another member to the team, and received a request for an interview. I had to provide samples of my feedback and a write-up of my editorial philosophy, and then I was in!

As for the Tin House internship, I applied for that cold turkey. Again, I thought it was a longshot, but I spent hours studying and reading their titles, reading about their editors, and crafting my application materials. I knew an internship with an independent press (let alone one that was remote AND paid!) would be invaluable for stepping into the publishing world, and Tin House was the dream, the best of the best. I am still shocked and thrilled that I landed the role, and this has by far been the best experience I've had in the publishing world.

rvc: Is it ever overwhelming juggling so many editor roles?

JP: It can be challenging to juggle the roles, but not necessarily because of the work itself, which I genuinely really enjoy. I'm also a full-time student in an MFA program where I teach, so my day-to-day schedule is incredibly busy. Thankfully, to-do lists and time management have always been something I'm good at.

I also try to edit in batches, focusing on one publication at a time, so that I am consistent with editing in the way they want their guest editors to provide feedback. I'm now earning money doing what I love, so even when things get a bit overwhelming, I'm grateful that I have access to these opportunities.

rvc: What advice can you offer for people who want to get into reader and editor positions at lit mags?

JP: Apply, apply, apply. My partner can attest to the fact that anytime I've applied for one of these gigs, I've been convinced I won't get it. Still, I always put full effort into each application: I do my research, work on the application well in advance of the deadline, and revise many, many times before submitting.

A lot of the starting positions are volunteer: 10–15 hours a week of reading submissions, of learning what makes a story or essay or poem publishable. But these positions are a fantastic foundation to build on, and I recommend everyone to try and become a reader for a lit mag they love if they have the capacity. It's a great idea to follow the lit mags or presses you love, too to see when opportunities to apply arise and to read their recent work. It's so important to be familiar with where you are applying.

I honestly feel like I got lucky to be in these roles, and can only attribute that success to building up my resume slowly (reader positions, acceptance into a MFA, reading widely, etc), jumping at opportunities even when they seemed like a long shot, and then aspiring to do the work to the best of my ability once I have it. Sometimes, you have to hustle and create your own chances for a "yes.”

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