What Does It Take to Be a Literary Magazine Editor?
Devon Webb, editor for Prismatica Press shares her experience and what she's learned on the job.
Our guest essay this week is by
who discusses navigating the indie-lit editorial landscape. She shares insights as both an author and an editor, with her advice on administrative tasks, design considerations, and conflict resolution. She also offers a reminder to know one's limits and not take oneself too seriously in the lit community.Like so many things, my editorial journey began with Twitter. After submitting to various magazines for a span of a few months, I saw one submission call that particularly invigorated me, & the EiC & I began a conversation that culminated in me joining the team & co-editing the project alongside her (Good For Her: An Anthology of Women’s Wrongs, Prismatica Press).
Being able to learn from this experience & the wider team, led by Viviana Montez who has been a hugely inspiring & supportive presence on my literary journey, gave me skills that enabled me to pursue additional projects. One of these projects went to shit due to factors outside of my control, but I do feel like I ‘jumped right into the deep end’, faced some learning curves & gained some insight along the way. It’s this insight that I wish to share, not as some kind of authority on the editorial craft, but as a member of the indie lit community with some observations to share from both an author & editor perspective, in the interest of advocating for that essential relationship & the transparency that will strengthen its mutual benefits.
Setting intentions
The first thing we must ask ourselves when beginning our editorial journey is….. why? If your answer is money, turn around. If your answer is clout, you’ll have either a very good or very bad time. If your answer is a love for the work, a love for the community, a desire to expand your skills & scope as a creative, or anything along those lines… you’ve come to the right place.
The beauty of becoming an editor, besides the gained experience & the fact that it’ll look good on your CV, is that you have the power to realise a specific vision. Perhaps there’s a style of work you love & want to see more of, or perhaps you have a very niche interest: my friend Alannah, for example, founded a lit mag called Hunter’s Affects, which exclusively publishes work about The Grateful Dead. There are also presses & magazines committed to uplifting the voices of underrepresented groups, like our queer & PoC communities. If there’s something you want to see, if there’s a movement you want to create: you can make the space for it.
The Symbiotic Relationship
There’s a widespread perception of editors as ‘authority’ figures, but I think it’s more helpful to think of them as ‘guardians’ or ‘stewards’ of a writer’s work. Lit mags wouldn’t exist without the contributors who offer them content, & it’s my belief that we ought to operate on a more level playing field. An editor is only the curator, rather than the creator, of the work they platform – not to minimise the former role, which is imperative in providing opportunities for artists, but I think it’s important to avoid a ‘possessive’ editorial approach.
For example, every author has their own unique voice. Non-Americans don’t used American spellings, for example, & poets may have their own inclination towards ‘rule-breaking’ or fondness for certain punctuation marks over others. Editors, particularly those of more formal magazines, may have their own style guide, but perhaps we could consider the effects of homogenising the work of such creatively divergent individuals.
Also, it shouldn’t need to be said, but assure you obtain consent for any editorial changes to the work. It can be disheartening as a writer to be excited about a piece coming out, only to discover your work has been altered without your knowledge. Any editorial suggestions can be made prior to publication, & I often find this results in a constructive back-and-forth with ‘counter suggestions’ which open up the work for potential discoveries on both sides of the author-editor equation.
The Sim Sub Snub & Silent Rejection
The idea of the symbiotic relationship feeds into the constantly recurring question: should simultaneous submissions be allowed? & the answer is yes. In my opinion, the only time a guideline against simultaneous submissions is understandable is if there’s a very quick turnaround for the magazine, perhaps due to the frequency or speed of their output, the administrative structure of which would be compromised by withdrawals. Or perhaps a competition, in which instance it may be unwise on the author’s part to submit their piece elsewhere.
However, most magazines have a response time of several months, & may be perceived as entitled to hold someone’s work hostage by expecting exclusive access to it. As both an editor & a contributor, I can understand that this results in some additional admin on the editor’s part, but the submissions process is complex for the contributor, too. I believe that it’s essential to give authors autonomy over their own work, especially in such a competitive market, & it personally turns me off a magazine to see this clause in their guidelines. As the old adage goes: you snooze, you lose.
Another related issue is that of the silent rejection. This is, in my opinion, lazy. If you’re going to all the work of reading submissions, making spreadsheets, promoting projects on social media… you can send a form rejection. This is particularly important if you don’t allow simultaneous submissions, so the author knows to return the piece to their submission circuit. Tracking submissions on both ends is challenging, so it’s important to respect contributors by keeping them informed of the status of their work.
Admin
Admin, admin, admin. If you don’t like admin, don’t become an editor. Spreadsheets are your friend! The more organised the spreadsheet, the less despairing you will be. I had minimal knowledge of these digital resources when I joined my first editorial team, but was lucky to have very organised people around me to learn from – & god, I’m glad I did.
You might also want to hire someone with technical expertise, for things like website design. It’s natural as an editor not to be skilled in every area, & the technical/digital realm is definitely somewhere I’m lacking. But the great thing about the indie lit scene is that you will almost certainly find someone to assist you with those elements if you reach out, & build your network.
Speaking of which: the more social media accounts, the more you will be consumed….. but the bigger your audience will be. Twitter is particularly great for connecting with the community, due to the ease of interaction. Absorbed in the beauty of literature, or chronically online? You can & probably will be both.
Design
Which brings me to the importance of design. It’s hugely beneficial to hire a designer, if you’re not personally experienced in this area, so the work you’re a guardian of will be uplifted with a polished presentation. Having a consistent aesthetic is something that I think is effective in portraying professionalism – Erato Magazine is a publication I write for who I think is a wonderful example of this, I always know my work will be done justice in their hands.
Another element of design I think it’s important to prioritise is readability. A simple background & font pairing often works better than too many complicated visual components. Also, I know as a poet that enjambment & formatting is usually intentional, so try not to alter this too much in the type-setting process, or run it by the author first. Sending proofs prior to publication is a great way to ensure that the author is happy with the presentation of their work.
Communication & Conflict
Communication is, in my experience, one of the most crucial skills to hone as an editor. The world of indie lit is rife with challenges, & the likelihood of conflict is not something I can recommend turning a blind eye to. I’ve personally found that transparency goes a long way: sometimes, all it takes is an email, or a genuine apology if one is due – which may occur in the instance of making an error with someone’s work, or having to delay or even cancel projects due to various complications. Shit happens. But this is where one has the opportunity to be brave & open, rather than running & hiding, which runs the risk of exacerbating the issues. Critique is also something that space should be created for – hopefully, patience & empathy is something to be found on both sides of the contributor-editor equation, but with all things human, there can be hiccups along the way. All we can do is have integrity, be honest, & try our best to resolve conflict.
Don’t Bite Off More Than You Can Chew
Everyone has limits, & that’s something to stay conscious of. A collaborative digital issue, for example, requires less resources than the distribution of a print chapbook, especially if it’s the work of a single author who’s poured their heart & hard work into the project. As editors, we must whole-heartedly support all elements of a project we undertake, rather than disappointing authors by offering something we don’t have the capacity to execute. I’ve had first-hand experiences with the complications that can arise from pushing our limits, & seen the hurt it can cause. Publishing one digital issue a year is so fine, if that’s all your schedule or personal wellbeing allows. It also gives you time to make that one issue really good.
Don’t Take Yourself Too Seriously
No, The Paris Review probably doesn’t know who you are. Do they need to? We’re all just creative souls who want to see a little more art in the world, or find a community to connect with. Being too self-important takes all the fun out of it! Indie lit is a playground – & an exciting, enlightening one! – not a competition. If we focus on the beauty of the work & building relationships, we’ll likely be much more fulfilled than we would be by the widespread validation of strangers. If we do what we love, maybe other people will see that joy, & do it with us – in my opinion, there’s nothing more prestigious than that.
Prismatica: LGBTQ Science Fiction and Fantasy Magazine
Prismatica: LGBTQ Science Fiction and Fantasy Magazine is a United States of America-based literary magazine founded in 2018 that publishes Fiction, Nonfiction, Poetry, Translation, and Art.
"LGBTQ fantasy & sci-fi magazine featuring short fiction & poetry by both emerging/established LGBTQ writers" -C.S.
Fee: None | Pay: No
Fiction: Submit up to 10000 words.
Sub Genres: fantasy, lgbtq, Science Fiction
Nonfiction: Sub Genres: Personal Essay, Literary Journalism, Features, Cultural Criticism, Ekphrastic Essays, Lyric Essay
Poetry: Accepts poetry. Preferences: Poems in both metered and non-metered styles are accepted. Additionally, there are no restrictions on poetry form. Poetry submissions should not exceed 1,000 words.
Notable Tags: #read for free #active on socials #popular #has printed issues #30-day response time
Prismatica accepts simultaneous submissions. They respond within within 3-4 weeks. You can find them on social media (@prismaticamag), where they have 2697 followers the last time we checked.
Devon Webb is a Gen Z writer & editor based in Aotearoa New Zealand. Her award-winning work has been published in over seventy journals worldwide & revolves around themes of femininity, vulnerability, anti-capitalism & neurodivergence. She is an in-house writer for Erato Magazine, an editor for Prismatica Press, & is currently working on the launch of a collective called The Circus, which will prioritise radical inclusivity within the indie lit scene. She can be found on Instagram, Twitter, TikTok & Bluesky at @devonwebbnz.
This is very informative, and as a poet who submits to both magazines and publishing companies I can see what you are describing in this which you explain quite well.
This can be of much value to one who is starting out. I remember my beginnings. Oh, boy! I was so wrong and naïve. Something like this article would have been of much valuable help.
Thank you for posting this. Good read!
This is a realistic assessment of the rewards and challenges of this work without irony or cynicism. This is a huge favor for anyone thinking of launching such an effort. It’s a lot of work, much of it not about love of literature in the same way that much of teaching isn’t necessarily about love of learning (committees, meetings, imposed contingencies, etc.). We have to not only love literature and burn with commitment to its necessity in this or any other time, but we also have to love the uncertainties of what any audience wants and will support. On top of that, issues of sustainability have to meet the changing roles of literature and literacy as we careen into the core of the 21st Century. We probably need new models for fulfilling the roles a literary journal can take. So be good to editors. Even if you think they’re being unfair to your talent, know that they wake each day into challenges and nightmares the earnest artist seldom has to face. Life is even more unfair to them than it is to you. If you ever hear back from one of them in person, kiss their toes.