It’s a Brand New Universe Out There

Over the past few years my writing has become more speculative. Much of the reason has to do with my rather unrestrained imagination, or as my wife often says when reading my work, “How the heck do you think of this stuff?” (There is, admittedly, a note of terror in her voice when she says it.)

The speculative, even when written in a literary style, isn’t too popular among literary journals. There are a few venues that lean in that direction, but most of the hundreds of journals I’ve become familiar with in the past decade prefer stories that seem relationship-based, or sociological in nature, rather than science-based.

And so I’ve decided to move away from literary journals and focus on submitting to speculative publications. I started researching this alternate universe of publishing a few weeks ago. When I say, “alternate universe,” I’m not kidding. Here’s some of what I’ve discovered.

  • They pay: One of the biggest complaints writers have about lit journals is that most of them don’t pay to publish work. I always knew that wasn’t the case for spec lit, but I never knew just how big difference was. Using a series of Duotrope searches for research, I’ve come up with the following percentages of journals that pay. Figures are based on 1059 literary journals (some of which may be speculative) and 523 speculative journals (that’s science fiction, fantasy, and horror). I can’t account for duplication of titles within these genres and other factors, so this is not a completely scientific experiment. It’s just to get an idea.
    • 15% of literary journals provide a token payment or more
    • 9% of literary journals provide professional or semi-pro payment
    • 52% of speculative journals provide a token payment or more
    • 24% of speculative journals provide professional or semi-pro payment
  • They don’t charge you to submit: Perhaps the biggest advantage of the speculative universe is that very few of the publishers charge writers to submit. In fact, free submissions seemed to be something of a cause among them. The submission engine of choice among spec lit publishers, Moksha, says this about submission fees: “We understand that some journals and magazines use submission fees as their primary source of income, and we at Moksha feel this is an unnecessary burden placed on writers. As such we do not have plans to ever support it.” As a writer who has spent perhaps $300 to $500 per year on submissions for the last several years, that’s something I can certainly live with.[1]
  • They make a decision on your work quickly: Here’s perhaps the biggest surprise. These journals do not accept simultaneous submissions, but they promise to get back to you within a reasonable amount of time, which can be anywhere from two days to a week. As most writers who submit to literary journals know, many take months to respond, sometimes longer, and sometimes never respond at all. (I’m still waiting for American Short Fiction to get back to me on a 2016 submission.) I’m eager to see how well the responses work in the speculative world.
  • Even the Shunn manuscript formatting system is coming around to reality: I’ve always been leery of spec lit journals’ requirement to use Shunn, which is based on a 70-year-old model of editing that uses monospaced fonts and underlining to indicate italics. But the most recent iteration of Shunn allows for Times Roman font and includes several more modern editing practices. No more need to shun the Shunn!

So off I go into this new and relatively unexplored universe. I expect I’ll be writing more later about those exploits.


[1] Full disclosure: As publisher of Tahoma Literary Review until late 2017 I did promote a business model that collected fees for submissions. Unlike most fee-based journals, however, we used almost every cent to pay our writers, and provide customer service in the form of critiques and responsiveness.

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