firstwriter.com's database of magazine publishers includes details of 2,413 english language magazines from around the world. The database is continually updated: there have been 21 listings added or updated in the last month. With over fifteen different ways to narrow your search you can find the right magazine for your writing, fast.
News
Ball State University’s Department of Journalism has announced guidelines for the 2019 Eugene S. Pulliam National Journalism Writing Award competition. The award, which is sponsored by the Pulliam family and coordinated by Ball State, honors outstanding writing in United States-based newspapers and magazines. There is no entry fee for the competition, and the winner receives a $1,000 prize and hotel accommodations at Ball State for the annual award ceremony on March 28. Three previous winners of the prestigious Pulliam Award have subsequently won the Pulitzer Prize for journalism.
The top copy editor at Random House has a book out about what you should and shouldn’t do in your writing, and people are already arguing about it. All writing advice is relative, because language is not physics, it’s something people made up. That doesn’t mean writing advice is useless, so if you like to write and are trying to get better at it, you should read this excerpt from Benjamin Dreyer’s book Dreyer’s English: An Utterly Correct Guide to Clarity and Style.
American author James Patterson will make his first visit to the Theakston Old Peculier crime writing festival later this year, it has been announced.
The event, which is described as the world’s biggest celebration of the crime genre, will also feature an appearance by Bodyguard and Line Of Duty creator Jed Mercurio and will see Safe author Harlan Coben in conversation with Rebus creator Ian Rankin.
I am a firm believer in write what you know. If you are planning to write about something you have no experience of, it will show in your characters and in your plot line. Why not just go and experience it? However, I know there are limits. Fantasy is one genre particularly affected by the statement ‘write what you know’, because how can you know about something that doesn’t exist? Personal experience can only go so far.
Articles
When you are an aspiring writer, it is always important to develop your craft as the years progress. You want your writing to grow with you. Helping your writing grow could mean you spend a lot of time writing, or you have majored in the field at your chosen college.
In kindergarten I was tasked with making a shoebox diorama that showed me engaged in my future vocation. The little cardboard me I cut out wasn't playing a professional sport or fighting a fire or walking on the Moon. Instead, Mini Me sat solo in the empty Vans shoebox, in a tiny cardboard chair, behind a tiny cardboard table, in front of a tiny cardboard typewriter. It wasn't a dream I chased very far. At some point growing up I was dissuaded by pragmatism. Having learned that I stood the same chances of becoming a successful writer as my kindergarten classmates did becoming a professional baseball player, I steered clear of ever being caught playing the dreamer.
When Anupama Krishnakumar and Vani Viswanathan started the online literary magazine Spark in January 2010, they weren’t sure how many issues they would be able to put out into the world. In January 2018, they celebrated eight years of the magazine and in April, their 100th issue will be released.
Putting out a literary magazine every month for eight years has its challenges, especially when running it alongside professional and personal commitments. Each month, the magazine focuses on a theme, ranging from “Navarasas” to “Life Online” to “Shopping”, features writing across genres and is freely available to read without advertising or a subscription fee. In an interview with Scroll.in, the co-founders spoke about their individual understanding of how the magazine has survived, the practical approach to running a non-commercial venture, how they choose what submissions to feature, the pressures of multiple responsibilities, and the changes in creative writing online.
The digital revolution has been something of an asteroid for the whole publishing industry, but it has presented particularly gnarly challenges to libraries, colleges and schools.
How to transfer collections from the stacks to the screen? How does digital lending work, both practically and financially? Which texts would publishers be willing to digitise, and which would languish in analogue ignominy on the shelves?
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