Literary Magazines Quotes

In 1927, if you were stuck with idle time, reading is what you did. It's no accident that the 'Book-of-the-Month Club' and 'The Literary Guild' were founded in that period as well as a lot of magazines, like 'Reader's Digest,' 'Time,' and 'The New Yorker.'

Some of Mr. Gregory's poems have merely appeared in The New Yorker ; others are New Yorker poems: the inclusive topicality, the informed and casual smartness, the flat fashionable irony, meaningless because it proceeds from a frame of reference whose amorphous superiority is the most definite thing about it they are the trademark not simply of a magazine but of a class.

My fiction is reviewed by the mainstream press, by science fiction periodicals, romance magazines, small press publications and various other journals, including some usually devoted to archaeological and other science material.

I didn't have any writer friends in college. I was a computer science major, but I was writing a lot, probably more than anybody I knew. I started to submit novels to New York when I was a freshman in college.

As a young man just beginning to publish some short fiction in the t&a magazines, I was fairly optimistic about my chances of getting published; I knew that I had some game, as the basketball players say these days, and I also felt that time was on my side; sooner or later the best-selling writers of the sixties and seventies would either die or go senile, making room for newcomers like me.

Browsing the first editions at my local independent bookstore, I came across 'Pastoralia,' a collection of stories by George Saunders. I'd read one of the stories in it already, and several other Saunders stories in magazines and anthologies, and liked them all.

I wrote short stories for seven years and used to mail them out. You couldn't send them by e-mail. I called them manila boomerangs. I'd seal the self-addressed stamped envelope inside an envelope and I'd mail it off, and it would come back six weeks later with a rejection letter in it.

At first, writing for The New Yorker was very scary to me. I couldn't imagine anything that I would write in that typeface.

Wandering the book fair at AWP is a great way to get acquainted with a wide sampling of the diverse journals that are out there and the wide sampling of people who produce them.

On the other hand, now that I'm not dependent on fiction for my income, I've been writing more short stories despite the fact that there's no real paying market for short horror other than Cemetery Dance.

It wasn't until I was 26 or 25 when I started sending work out to magazines.

I was an English major in college. I was an obnoxious, tortured poet who wasn't very good. And after I graduated, I was a newspaper reporter in my hometown for three and a half years. And then I went and got my MFA at University of Alabama. And while I was at Alabama, that's when I began publishing, first literary magazines, and then at Harper's.

Writers, most of them, don't have a lot of resources.

Stuff that's truly off-trail was what appealed to 'Weird Tales' editors.

I didn't go to graduate school, where all the important writers seemed to be getting their start. I didn't pursue getting published in literary magazines. I didn't even send out countless pitch letters and manuscripts to agents.

The provincial intellectual is doomed to arguing at low level... there is still no Australian literary world, not in Sydney, Melbourne, Adelaide. It is some consolation to realise that there is no literary world in Birmingham or Los Angeles either. I have heard there is one in Montreal, but I don't believe it. The literary world is in London and New York, the only cities big enough to sustain magazines which can afford to reject copy.

I started writing when I was 11. In my late teens, I was writing short stories of every conceivable type and sent them to everything from 'Future Science Fiction' to 'The Sewanee Review.'

New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.

I'd done occasional short stories, but I don't like publishing them in literary magazines; they treat you too much like college boys.

When I started out in the early 1930s, there were a great many magazines that published short stories. Unfortunately, the short-story market has dwindled to almost nothing.

When I first started editing a 'Year's Best' volume in the '70s, the job was pretty straightforward - there were three or four monthly magazines to read and a few original anthologies from trade publishers every year.

If you appear in the 'Atlantic' or 'Harper's' or the 'New Yorker,' by God, you must be a writer, because everybody says so.

I started off at the high level, in the slick magazines, but they didn't use my name, they used house names. Anyway, then I went downhill to the pulps, then downhill further to the comics.

I used to submit to anthologies and magazines when I was a student - but I knew I was never going to be picked up.

Phooey, I say, on all white-shoe college boys who edit their campus literary magazines. Give me an honest con man any day.