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“Borders, Boundaries, and Belonging” is the theme of the inaugural issue of Multiplicity, the literary magazine of the Master in Fine Arts in Creative Nonfiction at Bay Path University.
Each of the 22 writers featured in this issue — 18 essayists and four poets — has written a brief statement about life during the COVID-19 pandemic, reflecting on their own work in light of the new reality. These statements accompany the writer’s work.
“Millions of people are sheltering in place at home, turning to art and literature and music online for inspiration and community, myself included,” said Leanna James Blackwell, director of the MFA in Creative Nonfiction at Bay Path University and editorial director of Multiplicity magazine. “My co-editors and I felt that Multiplicity — online, free and filled with real-life stories and poems from great writers of all backgrounds — could make a genuine contribution to readers looking for connection in this deeply uncertain time.”
Actively searching for new novelists and nonfiction projects, particularly in the areas of sport, culture and politics.
Independent publishers Dead Ink and Influx are launching an imprint, called New Ruins, focused on books that "defy the conventions" of literary and genre fiction.
The imprint will make commissions and invite submissions from literary agents, with its books available to the trade alongside Dead Ink titles, represented by Impress Books.
Nathan Connolly, publishing director at Dead Ink, said: “New Ruins will bring an exciting and dynamic range of new fiction to readers, so it is important that it is produced in an exciting and dynamic way. Collaborating with Influx Press to break a few boundaries and bring something new to the industry is exactly the way it should be done.”
A3 Artists Agency has brought in four former Paradigm agents to reestablish a literary division. Veterans Andy Patman and Adam Kanter have come on board as A3 partners and Co-Head of Television Content and Motion Pictures, respectively. They are being joined by fellow former Paradigm agents Katt Riley and Martin To on the lit team, with plans to hire more agents, coordinators and assistants while many talent agencies have been contracting in the face of the coronavirus-related Hollywood production shutdown.
That includes Paradigm, which in late March instituted temporary layoffs for 250 employees. The list included Kanter, Riley and To, sources said, while Patman left Paradigm last week, I hear.
A vibrant new wave of Irish literary journals are offering insights into contemporary trends as well as giving new ideas and new writers an audience
Reading the mission statements of Irish literary journals, a common theme emerges: the desire to offer writers the space to develop ideas that may not otherwise find a platform. From the more established titles such as Dublin Review, Crannóg and The Stinging Fly, which published its first issue 20 years ago this month, to more recent outlets like The Bohemyth, Banshee and gorse, fostering talent new and old is the backbone of “the little magazine”.
A vibrant journal scene with a roots-up feel to it has developed in Ireland in the past decade. There are currently in the region of 30 publications across print and online media seeking submissions multiple times a year. This has coincided with a growing enthusiasm for creative writing in general, with all of the major colleges in Ireland and many other cultural organisations offering programmes ranging from evening courses for beginners to two-year MFAs (Master of Fine Arts).
Health stories make the covers of magazines and newspapers almost every day. From the latest weight loss method to a potential cancer cure, editors are actively seeking story ideas.
Freelance writers who write health articles for consumer magazines can get as little as $50 for short pieces and as much as $5,000 for feature articles in top magazines.
Little literary magazines come and go. Shi’r was here one decade, gone another. So too Tin House, Souffles, The Partisan Review, and Black Clock. Indeed, author Nick Ripatrazone went so far as to write last year that “Literary Magazines are Born to Die.” He didn’t mean it as a bad thing, but rather that we should recognize they have a life cycle and pay tribute to our literary ancestors.
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