When in Doubt, Just Publish an Anthology

For short story writers, literary magazines often feel like a narrow gate guarded by invisible rules. You polish a piece for months, submit it carefully, wait half a year, and receive a form rejection that tells you nothing. Repeat this process a dozen times and even strong writers begin to wonder whether the problem is the work—or the system.

Here’s the blunt truth: literary magazines are bottlenecks. They have limited space, subjective tastes, shifting themes, internal politics, and slush piles measured in the thousands. Good stories are rejected every day for reasons that have nothing to do with quality.

When you hit that wall, there’s a simple, underused solution:

Publish an anthology.

Literary Magazines Aren’t a Meritocracy

Writers are often taught—implicitly or explicitly—that magazine publication is the “proper” path. But magazines reject for many reasons:

• Your story doesn’t match their current theme

• It’s too long or too short for that issue

• They already accepted something similar

• The editor simply wasn’t in the mood

• You’re unknown and competing with established names

None of these reflect the inherent worth of your story.

If you have multiple strong pieces sitting unpublished, the problem may not be your writing—it may be the submission model itself.

An Anthology Changes the Power Dynamic

When you publish an anthology, you flip the script:

• You control the timeline (no more 6–12 month waits)

• You choose what gets published

• You build a visible body of work

• You stop asking for permission

Instead of one story begging for entry, you present yourself as an author with a cohesive vision. That matters—to readers, reviewers, and even future editors.

A single magazine credit can be overlooked. A published book cannot.

Short Stories Are Meant to Travel Together

Many writers treat short stories as orphans—each one sent off alone, hoping to be adopted. But short fiction often gains strength when placed in conversation with other pieces.

An anthology allows you to:

• Group stories by theme, mood, or genre

• Show range while maintaining coherence

• Let weaker stories be carried by stronger ones

• Create a reading experience, not just isolated texts

Readers don’t consume short stories the way editors do. They don’t care if one piece is 3,200 words and another is 5,100. They care if the book holds their attention.

“But Magazines Give Prestige”

Yes—and so did gatekeepers in every era of publishing.

Prestige is a lagging indicator. It follows visibility, not the other way around.

If your anthology finds readers, gets reviewed, or sells consistently, it generates its own credibility. Editors notice authors who already have an audience. So do agents. So do publishers.

Ironically, self-publishing an anthology can make magazine publication easier later, not harder.

You Probably Already Have Enough Material

Most writers underestimate how close they are to a book.

Ask yourself:

• Do you have 8–12 finished or near-finished stories?

• Are they linked by genre, tone, or subject?

• Could they be lightly revised to fit a unifying theme?

That’s an anthology.

It doesn’t need to be perfect. It needs to exist.

Anthologies Are Not a “Failure Option”

There’s a lingering myth that publishing your own collection means you’ve “given up” on magazines. In reality, it means you’ve stopped letting one system define your worth.

Some of the most enduring short fiction in history wasn’t magazine-driven—it was collected, preserved, and reintroduced through books.

An anthology is not a consolation prize. It is a declaration: this work deserves to be read.

Practical Advantages Writers Rarely Mention

Publishing an anthology also gives you:

• A permanent URL to point readers toward

• Something concrete to market on social media

• A reason to contact reviewers and bloggers

• A foundation for future collections

Most importantly, it breaks the psychological loop of endless rejection. Momentum matters. Confidence matters. Publishing something—anything—changes how you approach the next project.

When in Doubt, Act

If you’re stuck waiting on submissions, second-guessing your talent, or reshaping stories to fit ever-changing magazine guidelines, stop.

Step back. Look at the work you already have.

When in doubt, just publish an anthology.

You didn’t start writing to sit in a slush pile. You started writing to be read.

 

Example

Charles Moffat publishes his fantasy and weird western short stories in both magazines and in anthologies. And it easy to see why. He writes a lot of short stories. Sometimes he publishes the stories individually (and gives away free ebooks during sales and promotions) and he is so busy writing that he doesn't always have time to submit to magazines and keep track of their responses.

Right now (Boxing Week 2025) he currently has a sale on for his novels and anthologies, and some of his short stories are free samples. You can find them all by browsing:

amazon.com/author/moffat 

 

 

Publishing Strategies for Poetry Magazines and Collections

Below is a list of strategies that successful poets often use to get their work published more frequently in poetry magazines:

1. Read the Target Magazine – They study each magazine's tone, style, and themes to ensure their poems are a good fit.

2. Follow Submission Guidelines Exactly – They carefully read and follow formatting, length, and submission window requirements.

3. Submit Regularly – They treat submissions like a routine, often sending out work every month or quarter.

4. Revise Ruthlessly – They spend significant time editing and improving poems before submission.

5. Build a Strong Portfolio – They have a collection of polished, varied work ready to submit when opportunities arise.

6. Research Markets – They use tools like Duotrope, Submittable, or The Poet’s Market to find appropriate publications.

7. Write Cover Letters Strategically – They keep it brief, professional, and personalized if possible.

8. Track Submissions – They keep records of where and when they've submitted to avoid mistakes or double submissions.

9. Read Widely in Contemporary Poetry – They stay current with trends and styles in poetry publishing.

10. Network with Other Poets – They attend readings, workshops, or online groups to build relationships and stay informed.

11. Submit to a Mix of Big and Small Journals – They diversify their targets, aiming for both prestige and visibility.

12. Enter Contests Selectively – They submit to reputable poetry contests where publication is part of the prize.

13. Maintain an Online Presence – They often have websites, social media accounts, or newsletters to share their work and boost credibility. (However, you should only be sharing previously published work on social media/etc. Some magazines/publications only accept work that was never previously published, including online. Thus whenever you create new work you should always keep it offline until after it has been published in a magazine or similar publication.)
    

14. Accept Rejection Professionally – They view rejections as part of the process and keep submitting.

15. Read Submission Calls Carefully – They pay attention to themed issues or editors' preferences to tailor submissions.

When does Submission Fees = Vanity Publishing???

Rule of Thumb

    $1–$4 = Usually legitimate.
    $5+ = Proceed with caution — it may be vanity publishing.

If the writer is the customer, not the reader, you’re likely looking at a vanity operation.

Not Vanity Publishing

Legitimate literary magazines sometimes charge small submission fees — typically $1 to $4 — and this is not considered vanity publishing. Here’s why:

•     These fees usually cover administrative costs, like using Submittable or paying proofreaders.
•     The magazine is editorially selective — not every story is accepted.
•     They don’t charge you to be published, just to be considered.
•     They’re typically respected in the literary community and have a strong readership base, which translates to receiving a lot of submissions.
•     They usually pay the writers if their story is accepted.

This is considered a normal part of the submission process for many established and/or nonprofit magazines.

When It Is Vanity Publishing

If a publication charges over $5 per submission — usually fees in the $5 to $20 or more range — it is more likely to be vanity publishing, especially if:

•     The acceptance rate is suspiciously high (i.e. they accept almost everything).
•     They offer little to no editing or promotion.
•     They require additional fees to actually be published, or they require you to buy the magazine your work appears in, or they require you to buy a subscription before your manuscript can even be considered.
  
•     The publication exists primarily to make money off writers, not to share quality literature with readers.
• Their readership is very low or non-existent.
  

In these cases, the magazine isn’t serving readers — it’s serving itself by preying on hopeful writers. That’s the hallmark of vanity publishing. They're basically just scamming writers!

Conclusion...

Regular magazines may be harder to get into (because they have a higher rejection rate), but at least they have actual readers.

For example:

Peasant Magazine doesn't charge any fees for submitting stories, and pays authors for their work, and while the magazine's readership is currently small and growing, at least it has real readers.

Writing Tip: Stay Motivated

Staying motivated and finishing a book is arguably the most important skill an author can have. While talent and creativity are essential, the ability to push through challenges, doubts, and distractions is what turns an idea into a completed manuscript. 

Consistency, perseverance, and a clear vision are key to transforming your words into a finished book. It's not just about starting the journey—it's about seeing it through to the end.

 

 

Why Writers Should Keep Their Day Jobs During a Recession

Don’t Quit Your Day Job (Yet)

When the economy dips into recession—or worse—many industries suffer, and the publishing world is no exception. For writers with dreams of launching a novel, economic downturns can feel like slammed doors. Advances shrink, publishers grow cautious, and readers spend less. But a recession doesn’t have to mean creative paralysis. In fact, it can be the perfect time to refine your craft, build your portfolio, and prepare for a stronger debut when the market rebounds.

Even in the best of times, writing rarely offers financial stability for newcomers. During a recession, it's even riskier. Advances and royalties decrease, competition increases, and marketing budgets dry up. That dream of “quitting to write full-time” can quickly turn into financial stress and creative burnout.

A day job—especially one that’s stable—can be a writer’s best ally during uncertain times. It offers:

• Security: So you’re not making desperate decisions or rushing your work to market.

• Perspective: Interacting with the world keeps your ideas grounded and relatable.

• Routine: The structure of a job can help create disciplined writing habits.

Focus on Craft, Not Commercialization

Recessions aren’t great for selling books, but they’re ideal for becoming a better writer. With fewer publishing opportunities and lower odds of immediate success, the pressure lifts. You can take the time to:

• Experiment with voice and genre.

• Work on multiple short pieces rather than investing all energy into one novel.

• Join writing workshops, critique groups, or take affordable online classes.

Writing without the urgency to sell can produce some of your most honest and lasting work.

Short Stories: A Smart Strategic Move

While novel publishing slows down in a recession, short stories remain a viable path. Literary magazines, online journals, and anthologies still seek quality content—and many pay, even if modestly. Short fiction allows you to:

• Build publishing credits and a name in the industry.

• Get used to working with editors and submitting on deadline.

• Reach readers without the heavy lift of publishing a full-length novel.

Many acclaimed novelists—like Jhumpa Lahiri, George Saunders, and Alice Munro—built reputations through short stories first. It’s not just a stepping stone; it’s a valuable form in its own right.

Delay the Novel Debut

If you’re sitting on a finished manuscript, now might not be the best time to launch it. Publishers are risk-averse during recessions, and even self-publishing becomes tougher when readers are cutting back. Instead of rushing to release:

• Use the time to revise and tighten your manuscript.

• Write a second book, creating a stronger portfolio.

• Research agents and publishers so you’re ready when the market picks up.

Timing matters in publishing. A strong novel released into a weak market can disappear. But a well-crafted book launched into a recovering economy can thrive.

Play the Long Game

Writing is a lifelong pursuit, and recessions—though painful—are temporary. The economy will recover, and when it does, readers will be hungry for stories, perspective, and meaning. If you’ve used the downtime wisely—honing your craft, staying financially afloat, and building a foundation—you’ll be ready.

So keep the job, keep writing, and stay focused. Great writers aren’t made in perfect conditions—they’re forged in persistence.