August Recommendations

 

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Image: Tony Hisgett

This summer has been the summer of many tabs. I always have at least 10 tabs open, and about half of them are literary journals. Part of what inspired me to come back to this blog was the renewed excitement I felt for exploring the pages of the internet following a writing workshop I took last spring. My professor, the poet Greg Glazner, asked us each to present on a particular writer whose “poetic prose” we were really fascinated by (the them of the class was “Poet’s Prose” but we read a range of texts from prose poems to flash fiction to creative nonfiction). He requested that instead of uploading pdfs of excerpts of the writer’s work, we post links. At first I was a bit skeptical of his insistence on links, since it was sometimes less convenient to find links to a person’s writing on the web than to just make a copy of pages of a book from the library. But Professor Glazner has this theory about links, that they allow us to discover more things about the writer and his or her context and also lead us on these interesting quests through the internet to find things we never knew existed.

I was presenting The Pillow Book by Sei Shonagon, a Japanese writer who lived in the Emperor’s court in the 10th century, so initially I was skeptical that I would be able to find her work published online, and I wasn’t sure if giving a link would add anything to the conversation. However, when I searched for Sei Shonagon, I stumbled upon a really insightful and informative essay by Meredith McKinney on translating The Pillow Book in the Kyoto Journal.

Ever since, I’ve been considering just how cool it is that this whole vast repository of writing is available to us for free online, and I’m continually inspired whenever I find more online journals publishing great work. Here are some of the journals that have recently caught my eye:

The Southeast Review

The Southeast Review’s journal is technically not online, but they do post fiction, nonfiction, interviews, and poetry to their “online sister,” SER TWO (which stands for This Week Online). There I found some really great writing during the past month including the short story “Ruth’s Red Ale” by Ann Stuart McBee and the nonfiction piece “Two Boyfriends” by Lareign Ward. McBee’s story ferments language in exciting ways (pun intended), and I was dazzled by the sensory details in her piece about an impoverished couple home-brewing beer while life falls apart around them. Ward’s piece depicts the strange untethered grief of a narrator who has recently lost a lover but doesn’t quite know what her future with that person would have been or if they even were heading for a future together.

The Southeast Review is affiliated with Florida State University and is currently accepting submissions in fiction, nonfiction, poetry, and book reviews. You can find out more information about their submission guidelines here.

 

The Yemassee Journal

This journal, which is run by the University of South Carolina, recently published its first online issue, which I perused. Some of the highlights from that issue include the poem “I Tried to Be a Good Mexican Son,” by José Olivarez, a prose piece called “The Saving Apocalypse” by Matthew Hummer, and “Three Poems” by Shaina Monet. Olivarez’s poem depicts the speaker’s failure to live up to his mother’s expectations and also serves as a sweet tribute to the speaker’s mother, who clearly loves her son despite his shortcomings. It’s humorous, straightforward, and filled with delightful lines. Hummer’s piece, which I think is nonfiction (although it’s not labeled) is a lament of the demise of the print newspaper and also discusses the paranoia the narrator experiences while trying to not be tracked by technology, a paranoia that feels familiar to anyone with a smartphone or a social media account. The essay slips into its subject indirectly, slyly, almost like it is is trying to hide something. Ironically, it’s online for everyone to read. Finally, Monet’s poems have a really interesting concept behind them: they are in the form of a “beau présent” which is when you take the letters of someone’s name and combine them into different words to create a poem. The form limits the writer to only using the letters available in the original word or words. Monet describes her reasons for doing this: each poem honors an ancestor of hers, persons of color who society didn’t deem worthy of recording. Her poems try to correct that injustice. The poems’ form leads to an interesting sense of circularity as you read the same letters come to life in different ways.

Yemassee is currently open to submissions of fiction and poetry. Here are there submission guidelines.

Split Lip Magazine

I like that Split Lip Magazine releases just one piece from each genre every issue. It makes reading an entire journal feel less daunting, and it will definitely keep me coming back to see more cool writing. In this latest issue, I particularly enjoyed the short story “Bound” by Belinda Hermawan and the nonfiction essay “Cary” by Lorelei Glaser. Hermawan’s story about fate and adoption drew me in from the start. The main character, a Chinese-American who was adopted, feels drawn to one of her cousins, and and that attraction is so well written that it didn’t come across as gross or weird. It was definitely original in its language and emotional intensity. On the other hand, Glaser’s story about coping with her son’s mental illness was a familiar narrative, but the details were fresh and cut to the quick.

Here’s information on how to submit to Split Lip.

I hope you enjoy these recommendations. Check in about a week from now because I have a flash fiction forthcoming in an online journal (not any of the ones I’ve featured), and I’ll be excited to announce that once it is published. I’m going to do my best to keep updating this blog at least once a month, but now that the school year is starting I will sadly have less time to peruse online journals and my tabs will be tucked away into folders, bookmarked for later. Until next time, happy reading and writing.

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The Missouri Review

This fall, I submitted a short story to the Missouri Review’s Editor’s Prize. I didn’t win. But, luckily, the contest submission also came with a year-long subscription to the literary journal (the fee for the contest was $20). I just finished reading the fall issue, and I have to say, I really enjoyed it. I think everyone who considers him- or herself a writer should read at least one literary journal on a regular basis, and I think from here on out, the Missouri Review will be mine. While not all the stories were perfect, and I wasn’t personally interested in all of the works in the issue, overall, the review’s fall issue had fresh writing with rich language and fascinating subject matter. I definitely recommend that you check it out.

The Missouri review publishes poetry, short fiction, and essays. I found the poetry in the latest issue to be accessible. Most of it was free-verse and more on the traditional side. There was nothing that could be called experimental in all of the magazine, in fact, but that was fine by me, since I tend to like more conventional literature.

Most of the poetry I read I would characterize as concise, filled with sharp, curt images, but at the same time it was layered, ready for deeper exploration. It was the kind of poetry you could read and think that it was rather simple, but if you go back and reread it you will find more than you thought was there. One of the poems that I liked in this issue was actually reflecting on this very topic, the layers of poetry. It’s called “The Poem About the Henhouse” by Lawrence Raab, and it is prefaced by a quotation by Jose Saramago, who said that a writer can’t find much to say about a henhouse.  And of course, the poet finds a way to say something about a henhouse which is quite poignant.

As for fiction, in general I liked the short stories in this issue. In particular I really enjoyed reading “Bury Me” by Allegra Hyde which offers surprising images of a funeral and fresh portrait of a friendship between two women. During college, the two firends use spirit of carpe diem as almost a crutch, to avoid thinking about one of woman’s mother who has cancer and who eventually passes away from it. The story opens at the mother’s funeral and explores the women’s past together and how they have grown apart. I really liked it, and I found both the narrator’s voice and the main character, the narrator’s friend, quite compelling.

However, occasionally I found the stories in the journal to be clichéd, with characters or situations that were predictable. Overall, I liked the story “A Bellyful of Sparrows” which is told from the perspective of an ailing Southerner with lung-cancer living in an RV. In general, I found his character to be quite fun to read about. He still craves cigarette smoke, despite the fact that he has to breathe from an oxygen tank, and he craves the taste of squirrel. But when he nearly dies at one point and he starts to see his life flash before his eyes, I rolled my eyes. In general, I saw a few moments like this in the stories I read, but of course all literature is susceptible to falling back on formulaic templates such as that one. In general, even in the stories I found to be clichéd, the writing was intricate, detailed, and vibrant, so I could get past a few clichés.

I also highly enjoyed reading the essays and interviews in the journal, which had a wide range of fascinating topics, from one man who lives in New Mexico reflecting on the importance of the atomic bomb in his life, to a woman discussing an enigmatic figure from her past, her landlady’s son, whose life profoundly touched hers. Reading essays like these ones really makes me want to try my hand at creative nonfiction. They are able to weave real moments together to form a coherent narrative that reads like literature, but carries more weight because it has the emotional backing of the author who is invoking his or her personal experience.

The Missouri Review accept online submissions, but they do charge $3 per submission. This magazine is highly competitive, so I would advise only submitting your best work to it and to be ready for a polite rejection letter in response. Personally, I think my writing is not yet at the level of the works that I read in the journal. That won’t stop me from trying to improve and to continue to submit my writing to places like the Missouri Review, even if I don’t have much of a chance. However, if your writing is really good, you do have a chance to be published. The Missouri Review does publish new or emerging writers quite often. For example, one of the writers I interviewed for this blog, Julia Glassman, had one of her first publications in the Missouri Review.

For More Information

The Missouri Review

Website: www.missourireview.com

Sixfold

As promised, here’s a more in-depth explanation of how the journal Sixfold’s unique publication process works. On a side note, I haven’t been posting as often on this site because I just moved to France. If you’re interested, you can also follow my travel blog: assistantinalsace.wordpress.com. I promise to post more often on both blogs, once I’m more settled in.

What is democratic literature? Literature chosen by the people, for the people? The journal Sixfold attempts to answer these questions. An online journal that publishes poetry and short stories, Sixfold allows writers to evaluate other people’s submissions and to vote for the ones they want to be published. Here’s how it works:

It costs $3 to submit a manuscript to Sixfold. Once you submit, you are given manuscripts to read in your same genre. During the first round,  you look at 6, comment on them, and vote for the ones you like best. There are two more subsequent rounds after the first one. At the end of the three rounds, the three highest-voted submissions in each genre receive 1st, 2nd, and 3rd place prizes, and the submissions with the highest votes (the top 20 for fiction and the top 40 for poetry) are published in the forthcoming issue of the journal.

I personally think Sixfold is a great concept, applying crowdsourcing ideas to writing. Not only do you have the possibility of being published, but each writer also receives individualized feedback from all the other people who read their submission. So even if you do not receive enough votes for publication, you still get something out of the process of submissions.

What makes the journal seem so innovative to me is that it changes who the gatekeepers are for publication, but still makes sure there is someone guarding the gates. Instead of having editors who are, in theory, supposed to be experts on recognizing good literature, choose what is published, the writers themselves validate other people’s work. This is also a great chance for writers to become exposed to what other people are submitting to these journals. The only catch is that you absolutely have to participate in the voting and editing process in order for your submission to be eligible. I think that’s only fair.

One drawback that I could potentially see to this type of publication is that it is not “curated” in the same way as regular journals. In some journals, the editors choose a theme and specifically choose pieces for an issue that they think work well together, just one would curate a museum exhibit. But this type of selection isn’t possible for Sixfold. Still, I read some of the works from the Summer issue of the Sixfold and none of the pieces seemed particularly jarring when juxtaposed against the others. In fact, Sixfold benefits from the fact that its voting process cultivates a diverse crop of writing. I was happy to find that it seemed like voters didn’t just choose stories and poems that were all similar to one another.

Some stories I enjoyed from this past issue included “Century”, by Bill Pippin, a short story about a man visiting his father who has just turned 100 years old, and also a very different, quite funny tale called “Conversations With Dakota Fanning” by Zac Hill in which the author imagines an outing with Dakota Fanning and reflects upon the bizarre way we idolize celebrities in our culture. I also enjoyed reading the poems, which tended to seem more straightforward and accessible to me than ones I usually see in contemporary journals. Perhaps having a large group of editors leads to the selection of poetry that is meant for the “everyman” (and woman). In particular, I liked the poems by Jim Pascual Augustin including “The Man Who Wished He Was A Lego” and “The Photograph.”

When you’re choosing which submit to Sixfold, I would recommend choosing something that you think will appeal to other writers like yourself, and also a work that still needs improvement because the voting process will give you a lot of feedback on that particular piece. The next deadline for submissions is coming up soon, on October 24.

For more information:

Sixfold

Website: www.sixfold.org

#Twitterfiction

You may have heard that this past week David Mitchell, author of several novels including Cloud Atlas, was live-tweeting a short story called “The Right Sort” on his twitter.

If you haven’t checked it out yet, I recommend that you do. He isn’t the first major author to dabble in the new genre of twitterfiction; other well-known authors who have published through Twitter include Jennifer Egan and Teju Cole. But this was my first experience reading a live-tweeted short story, so while reading it, I began to wonder how viable of a platform is Twitter for fiction, especially for emerging writers who don’t have the follower base that bestselling authors do.

For authors like David Mitchell, Twitterfiction is more of a marketing tool than a sincere publishing platform. Nevertheless, we can learn a lot from “The Right Sort.” The form of tweets, which must have 140 characters or less, is not extremely conducive to reading, since only a sentence or two at most can be tweeted at a time. I thought Mitchell did a good job working with the form to achieve the tone and style he wanted for his narrator. The narrator, a teenage boy hopped up on Valium, remarks,

Valium breaks down the world into bite-sized sentences. Like this one. All lined up. Munch-munch.

Thus Mitchell’s narrator has great tweet-sized thoughts most of the time that fit well with the format. (Is Mitchell critiquing the Millenials’ miniscule attention span through his narrator Nathan’s tweetable voice?) Later the short, jarring sentences transform into confusing stream-of-consciousness, when the narrator’s tone changes and he becomes terrified and disoriented. Finally, closer to the end of the story, the story tends towards the surreal. But I think this format in 140 character pieces still works, because the tweets allow for the narrator’s strange impressions and thoughts to feel fragmented even as they run together.

It would have been easier to read the story just typed out, of course, but I can see why twitterfiction is appealing. Using twitter, authors deliver a story serially, creating suspense that keeps the reader interested. I’ve written about serial online writing before in my article about different online writing platforms and in my article about the online journal Five Chapters, and as a member of the social-media consuming Millenial generation, I can see the appeal in munching on a story in “bite-sized sentences,” as opposed to being confronted by a large mass of text. It’s like the difference between shoveling down three-course meal at the end of the day versus chewing little snacks throughout the day. The snacks aren’t necessarily good for you, and you might still be hungry, but at least you’ve kept your jaw busy.

So does that mean we should all start composing our short stories and poetry with 140 characters-per-line enjambment? Perhaps, but I really think it depends on what you’re trying to accomplish with twitterfiction. Are you attempting to write the next great American novel and post it on Twitter? If so, the genre of twitterfiction is probably not for you. A Hemingway novel might be tweetable, that’s true, but I can’t see anyone trying to slosh their way through an ocean of long-winded Steinbeck-style tweets. I’m not trying to diss Steinbeck- I love his style, but let’s face it, The Grapes of Wrath is just not appropriate for twitter.

What is the ideal situation for posting twitterfiction then, if you’re an emerging writer? Well, for the people who are interested in Twitter as a flash fiction or poetry platform, there are a few twitter accounts that are self-styled twitter-zines. They curate fiction tweets, and submission is as easy as using the right hashtag or mentioning the zine in a tweet. A couple twitterzines include 140 characters and nanoism.  Both accept submissions via email. Check out the Submission Info below for more details.

Twitter might have some other innovative uses for writers and editors of literary magazines looking to promote fiction. Why not use the short format to present the first sentence of a short story with a link to its publication, using a tweet as a hook to draw in readers? That seems to be what all the major news outlets do these days to try to get people to watch their videos or read their articles, so why wouldn’t it work for fiction?

Of course, these techniques assume you already have a follower base. If you don’t have a large follower base, I suggest working on building one first before trying to market through Twitter. As I type this, I have fewer follows on Twitter than I would like, but actually just through the act of putting tweets out there with hashtags to garner attention for yourself, you can start to gather more followers (Shameless plug: you can follow me on twitter @hapawriting). And you don’t have to feel guilty about attention-seeking because it’s all for the sake of your career as a writer, right?

If you have thoughts on how to use Twitter as a useful writing and publicity tool, please share them in the comments below. I’m interested to hear about your experiences with twitterfiction.

Submission Info:

140 Characters

Direct message TwitterFiction on Twitter, or email your short stories to twitterfiction@gmail.com. Submissions must be 140 characters or less, of course.

Nanoism

Email submissions to editor@nanoism.net, include your name, bio (up to 134 characters), and subject line: “Nanoism Submission”

 

 

Prompt Lit Mag

This past week, I was struck by writer’s block. It didn’t hit me all at once, instead it was like a caterpillar slowly inching up my skin. I didn’t notice it until one day I just felt completely uninspired and couldn’t get a single word out on paper. That’s when I turned to the Internet to provide me with writing prompts. I’ve written from prompts before, mostly during creative writing workshops in college, so the feeling of picking up my pen with a vague idea of what I am going to write and seeing what falls on the paper is a familiar one. I have dabbled in writing prompts for the past week with moderate success, but, more importantly, the prompts helped me with just getting back into the habit of writing in general. I now no longer feel anguished when picking up my pen or opening a word document, although I can’t guarantee that what spills out of my mind will be any good.

While I was searching for writing prompts, I happened to recall a literary magazine I discovered a while back that is focused entirely around prompts. It’s called the Prompt Literary Magazine (or the Prompt for short). It’s an online journal, and I think it offers something really unique, especially to all of us emerging writers and to writers who are currently students. The Prompt publishes poetry, prose, art and non-traditional submissions with one caveat- they must be inspired by a writing prompt. They provide an avenue for pieces that sound “workshopped” to be shared. In each issue they offer an “editor’s challenge,” a prompt that readers can complete and then submit to the magazine, but they also publish works based on any prompt, just as long as you explain the prompt with your piece. They seem especially open to publishing new and emerging writers since many of the people who use prompts are still in the process of learning how to write and are not seasoned experts.

I read through two of the Prompt’s past issues and overall found writing that was clever, thoughtful, and fun. There are all sorts of poems and short stories within the Prompt’s pages, and the best part about the journal is that you can read what some other writers did with different prompts and then try them yourself. My favorite poems in the latest issue (Volume 2 Issue 1) include a poem by Margaret Vidale, “On the Table,” which was written in response to the Jackson Pollock painting “The Tea Cup” (Page 9) and a poem titled after its prompt, “Strike a Spark,” by Lyssa Tall Anolik (Page 15). I was refreshed by the imagery of these two poems, and it seems to me that poems inspired by prompts are often more exciting because of their randomness. They pull in language from unexpected places, such as in the poem “Putting up Preserves” by Crystal Karlberg (Page 33), which is composed of words taken from a single Scrabble game.

I also enjoyed the prose, although I think prompts often work better for poetry since it is harder to come up with spontaneity in the structure of prose. I absolutely loved the short story “The Making of a Poet” by Elizabeth Kate Switaj (Page 42), which explores what would happen if the meaning of “poetry bomb” were literal. She dives right in to an incredibly fascinating universe where poetry is used to maim people, and I just wanted to stay there and watch even after the short story was over.

Overall, I highly recommend checking out the Prompt’s website in order to read their journal and discover the prompts they have for writers on their website. They are currently accepting submissions for their next journal, so if you come up with anything good from the prompts you use, or if you have something sitting around from a workshop that was inspired by a prompt, definitely send it in.

For More Information

The Prompt Literary Magazine
Website: www.promptlitmag.org

Transcendence Magazine

I was impressed by the inaugural issue of Transcendence Magazine, an online journal started by a senior in high school. Its presentation is professional and its content is high caliber. The magazine contained some really insightful and beautiful pieces, and I also think it has a lot of potential to grow, especially if it narrows its literary gaze. Right now, I think it extends itself too broadly, including pieces that are real gems and other pieces that are mediocre. It also has not yet cultivated a defining taste-  in my opinion, there didn’t seem to be much of  a pattern for how the pieces in the issue fit together.

The first issue, which came out this past spring and contains fiction, poetry, art, and interviews with artists, would be quite hefty if printed on paper, since it is 82 pages long. However, it’s in an online format that is relatively easy to read. Still, I think the magazine would benefit from being slimmer because then it would be more digestible. Unfortunately, it’s hard enough these days to entice people to read literature, and an 82-paged magazine that’s not yet well-known might be too much trouble for many who are just dipping their toes into the literary pool. The quality of the pieces in the issue varied. I must give a disclaimer, of course, that I was judging the works based on my own personal taste, so another person may have liked the stories and poems that I found to be just okay. The poetry was hard for me to judge since, as I’ve said before, I’m not much of a poetry reader and thus poems must be really accessible and thought-provoking for me to like them. Some of the fiction pieces were really good; others had interesting premises but just didn’t quite capture my attention for one reason or another. Below are a few pieces that I enjoyed. I recommend checking out the issue as a whole to get a sense of the kind of writing the magazine is interested in. Fiction-“Jade” by Ethan Brightbill (on p. 42): a short story about a homeless girl on the streets of modern-day Yuexiu, a developing city in China. I liked this one mostly because I found the setting to be very detailed and believable and the narrator had a strong, compelling voice. Poetry- “Tattooed” by Armit Pamesseur( p. 13): I don’t always “get” poems, and sometimes I don’t think you need to really get exactly what they’re driving at to appreciate them as aesthetic works. I liked the rhythm and imagery of this poem and the ambiguity of the meaning of the woman’s tattoos, and how the poem seems to take on a spiritual tone despite its rejection of religion that condemns the woman’s actions. “Instead of Discussing Marriage” by Glen Armstrong (p. 36): This is one of those poems that almost anyone can enjoy, whether they love reading poetry or not. The speaker lists all the things he should have done instead of discussing marriage with his girlfriend. It’s playful and funny but also thoughtful, and I really like it. Another aspect of the magazine that piqued my interest are the interviews it has with artists from around the globe. I was surprised by the global reach of the magazine. There were interviews with artists from America, China, and Russia, and two were with young, emerging artists in their field. I really liked the interview with Fei Wu, a Shanghai writer (p. 38) because it explored issues of censorship in the literary world in China, which I know a little about from taking Asian American lit classes. It was interesting to hear from the perspective of an artist who is living in the midst of China’s literary scene, since I mostly have met and read ex-patriates. Overall, I look forward to seeing what Transcendence Magazine will come up with in its next issue. I plan on possibly submitting some works and seeing what comes back. Their criteria for submission is an emphasis on stories, both in poetry and prose. They want captivating language too, but they are mostly looking for narrative voice and plot, and they are not as interested in experimental works. Their submissions are currently closed, but they will start accepting submissions again in the fall.

For More Information:
Transcendence Magazine
Website: transcendencemag.wix.com/transcendencemag

Serial Online Writing: Literature’s New Frontier?

About a month ago, my interest was piqued by a New York Times Article on the Wattpad App, an app that is forming a new online literary community of readers and writers. I was fascinated by the article, which discusses how the app allows for readers to comment on works, which writers post in segments on the website or through the mobile app. Of course, as writers, we are always looking for people who would actually be interested in reading what we have to say, and sometimes it can feel a little lonely scribbling at our secluded desks, doubting whether anyone would actually want to read what we have written. Websites like Wattpad have existed for a long time, of course, especially for fanfiction. What is different and striking about these new applications, which include JukePop and Medium, is that they are technological start-ups, using social media tools to link writers and readers together.

But what are the pros and cons for a writer hoping to share their precious work? If you have been following the news at all, you have probably heard some recent success stories about writers such as Andy Weir, whose successful novel The Martian was originally posted online or Jack and Jasinda Wilder who were able to prevent their home from being foreclosed using the profits from their romance e-books.

Can using these writing apps eventually lead to more traditional forms of publication? Do they necessarily need to? Can one make a living (or at least some money) from this avenue of writing? And how does publishing writing through these apps change the writing process- for better or for worse?

The jury is still out on a lot of these tricky questions. Some writers have been able to “make it” through these new non-traditional forms of writing, and, in my opinion it’s worth giving them a shot.

But before you post or submit to the following websites, you should think about your ultimate goal for a particular piece of writing that you have. Would it be better to save it and submit it to more traditional journals, newspapers, or magazines that accept fiction or freelanced articles? The answer to this question depends on your own personal goals and desire for prestige. Most of these sites lack traditional “gatekeepers” who will approve your work. Some of them do have bad writing on them. Thus, you might be hesitant about having your writing published on such a site, thinking that it should only be a last resort for people who can’t otherwise get published. That’s a valid concern, but not one that I think should prevent you from at least trying out these sites. There is plenty of excellent writing on these sites and dismissing all of it as unworthy simply because there is not an authority that is deeming it publishable is not fair to the writers on these sites.

Another defining feature of these sites is that writers rely on readers’ endorsements to popularize their work. This isn’t so different from traditional means of publication, in which writers whose works are “bestsellers” become well-known. However, in this case, you have easier to access readers, because the sites remove the middleman between you and the reader. Thus, you can more easily cultivate a base of fans and followers. Of course, the flip side is you are competing with all the other writers on these websites for readers.

Financially, posting on these sites is probably not going to pay off immediately (except for possibly writing for JukePop, which gives cash rewards to its authors under certain circumstances). But then again, most of the time you won’t be compensated for being published in a traditional journal or magazine either, and if you are it won’t be enough to make a living. These websites are opportunities to make yourself known, which could lead to a book deal with a traditional publisher in the future.

Most of these sites allow you to retain publishing rights, so you can publish the stories again somewhere else if you want to. However, you should note that a lot of times traditional publishing outlets, such as book publishers and most newspapers and magazines, often do not accept submissions that have already been published. You would have to check with the particular place you are submitting, but most of the time having a story published online, even if it is through one of these websites or through your own blog, counts as a previous “publication.” Of course, not all publishing outlets are strict about this, and there are always exceptions- for example, the writer of “The Martian,” Andy Weir, still got a book deal with a publisher after his novel had already been published on his website and put on Amazon as a self-published e-book.

One more consideration is that writing posted online can be easily plagiarized. But if you post through sites like the ones below, often times, they can offer some protection from plagiarism because they can establish that you published a piece of writing on their site on a particular date.

What are the advantages to the writing process that these sites can give you? Well, first of all, you can get reader feedback that can be valuable for your editing process. This could help you improve your writing in general or help you revise the particular story you are working on. Second of all, these sites can help motivate you to write on a regular basis in order to cultivate a following of readers. They can allow you to do interesting things like make your story into an interactive “choose your own adventure” serial: you can engage your readers directly by asking them to vote for what should happen next in the comments.

At the same time, writing in serial installments is not necessarily the best way to construct a coherent story. Most published writers compose several drafts of novels, which can involve going back and changing crucial details at the beginning of the story. You can lose this process if you only build on the chapters that you have written before without editing the piece as a whole. But just because these websites tend to publish stories serially doesn’t mean you have to write them that way. You can write a complete story and then publish it in chapters on a site. I doubt that famous writers who published their novels serially, such as Charles Dickens, just wrote chapters as they went along- they usually had a finished manuscript ready prior to publication.

Here are a few examples of emerging online writing websites that publish serial fiction, journalism, or blog posts. The majority of these also have mobile apps available.

Wattpad

Wattpad allows you to post stories and comment on other people’s writing. Most of the stories are serial installments that together make up a longer short story, novella, novel. They have sections for every type of prose genre imaginable from Mystery to Science Fiction to Romance, and they also have poetry and fanfiction. Wattpad allows you to choose what copyright you want to use for the writing you submit to their site (you can retaining all rights, make it public domain, or do something in between). You can also edit your posts once they have been put online.

Website: www.wattpad.com

JukePop Serials

JukePop is similar to Wattpad, in that it allows you to read stories and comment on them. However, it differs from Wattpad in that it restricts whose writing is posted on their website. People make submissions to their website which are then “curated” by the JukePop staff, so that only certain stories are selected for publication on the website. Then, once a story has been accepted, readers can vote to endorse the story. Authors who have popular stories are eligible to receive cash rewards. JukePop. Writers retain the rights to their serial stories, and they can choose to publish them elsewhere after they have been published on JukePop.

Website: www.jukepop.com

Medium

Medium is another site that allows people to publish their writing online and read other’s writing and recommend articles through social media. However, it is focused on journalistic and nonfiction writing. They allow you to post articles freely on their site, so in that sense it almost like a blogging platform. Writers retain the rights to their work. To post on Medium, you need to have a Twitter account. In my opinion, Medium’s layout is confusing and not very user-friendly, and I am still uncertain why a blogger or journalist would choose to use it over a different platform. According to this New York times article, the defining feature of Medium is that you can leave “notes” that link to your own posts, which differ from comments because they create more of a conversation and network than regular blogging. I’m not entirely convinced, but then again I haven’t played around with Medium that much yet.

Website: www.medium.com

Other Blogging Platforms

Of course, other ways of publishing your writing online include using tools like this blog, which is a WordPress blog. I’ve also used Blogger before. In my experience, WordPress has been more useful for allowing me to customize what I want my blog to look like and how I want to categorize my posts. It also has connected me to more writers and readers than my Blogspot blog, which I mainly used for sharing updates on my travels with my immediate family and friends. Both are definitely good platforms for blogging. However, I am hesitant to post any creative writing on a personal blog, just because I worry that it can easily be plagiarized. That’s my personal decision, of course, and perhaps not the one that you will make.

WordPress Website: www.wordpress.com

Blogger Website: www.blogger.com