Poetry Magazines - The best collection of poetry magazines online - Simon Armitage

Listen carefully – I will say this only once (in a French accent, bien sûr). And in an ideal world. What needs repeating, constantly in some cases (even then, it doesn’t always appear to sink in), is that following guidelines is as essential as obeying competition rules. With so many submissions arriving which stick to requirements, those which don’t, rarely merit a second glance. Here’s a simple guide to how you, too, could end up on the ‘Hell Freezes Over’ pile.

No SAE

Yes, it is just the cost of a stamp and that doesn’t break the bank. But it isn’t down to a measly 27p, more a question of postage adding up to a prohibitive amount. Mainly, it’s the lack of consideration, because of all that time and energy spent as well, having to write out envelopes. Please note, and I kid you not: no SAE, no reply. Ever.

Speaking of envelopes, since first impressions count, and only take a nanosecond, let’s kick off. They may come in all shapes and sizes but speedy response takes into account the effort involved in trying to stuff things into teeny, weeny envelopes, having to sellotape re-cycled envelopes, never mind the consequences of insufficient postage.

Covering letters

Or not, as the case may be, which applies more to women. Yes, poetry should stand on its own two feet but even editors submit work saying something on the lines of ‘enclosed four poems for consideration, plus SAE’ (well, mine do). Such reticence extends also with submissions, far fewer than men. But I know you’re out there, so make yourselves known. Just some biographical detail rather than CVs (or would-be press packs), particularly those focusing on vitae. Yes, I know it’s useful keeping a record of magazines which have published your work, but think how much more poetry could have been written during the time spent adding up just how many have been published and on how many continents.

Presentation

Call me a stickler or a nitpicker, I want to be able to read work without distraction or frustration: fancy fonts, oversized print, doodles, faint print, rough copies covered in amendments and/or notes (or instructions), photo-copies (invariably skewiff). Handwritten needs to be in copperplate. Oh, and where sentences run on, capitals at the start of each line may be a convention, but lower case is preferred because it’s less offputting.

Number of submissions

2 + 2 = 4. Not 14, or 40 (allowing only for haiku and the like; one saga at a time please). Please do not send booklets inviting me to choose submissions; if you can’t be bothered to select a couple of poems, few editors are going to do it for you. If thinking of sending review copies, it’s Rupert you’re after (magazines and news items should go to Matt). And unless it was a huge print run, generally a good idea to enquire first before posting them off; it’s disheartening when you work out that review copies are level pegging with those sold.

Since work may be kept on file for several months (note, not years, unlike some magazines), in order not to tie it up, you have the option to approach other editors, as long as you keep me informed if it’s placed elsewhere. Quite a number of you were gratifyingly horrified at the very idea, whilst a couple were most insistent, after one acceptance, urging me to retain another poem. Play fair: so many submissions, so little space, so everybody deserves a turn; once work has been published, allow 12 months before submitting more poetry. And if you expect any editor to accept your work, return the favour, indeed, do yourselves a favour, by reading, ie purchasing – investing in, at least one copy of the magazine.