The following FAQ (Frequently Asked Questions) section provides the expert knowledge you need to submit your poetry in a professional manner. Answers to most basic questions, such as “How many poems should I send?,” “How long should I wait for a reply?” and “Are simultaneous submissions okay?” can be found by simply reading the listings in the Magazines/Journals and Book/Chapbook Publishers sections. Also, see the Glossary of Listing terms.
Usually, no. Now and then a publisher or editor makes an exception and accepts handwritten manuscripts. However, check the preferences stated in each listing. If no mention is made, assume your poetry should be typed or computer-printed.
If you’re submitting poems by regular mail (also referred to as postal mail or snail mail), follow this format:
Poems should be printed on white 81⁄2×11 paper of at least 20 lb. weight. Left, right and bottom margins should be at least one inch. Starting 1⁄2 inch from the top of the page, type your name, address, telephone number, e-mail address and number of lines in the poem in the upper right corner, in individual lines, single-spaced. Space down about six lines and type the poem title, either centered or flush left. The title may appear in all caps or in upper and lower case. Space down another two lines (at least) and begin to type your poem. Poems are usually single-spaced, although some magazines may request double-spaced submissions. (Be alert to each market’s preferences.) Double-space between stanzas. Type one poem to a page. For poems longer than one page, type your name in the upper left corner; on the next line, type a key word from the title of your poem, the page number, and indicate whether the stanza begins or is continued on the new page (i.e., MOTHMAN, Page 2, continue stanza or begin new stanza).
If you’re submitting poems by e-mail:
In most cases, editors will request that poems be pasted within the body of your e-mail, not sent as attachments. Many editors prefer this format because of the danger of viruses, the possibility of software incompatibility, and other concerns associated with e-mail attachments. Editors who consider e-mail attachments taboo may even delete the message without opening the attachment.
Of course, other editors do accept, and even prefer e-mail submissions as attachments. This information should be clearly stated in the market listing. If it’s not, you’re probably safer submitting your poems in the body of the e-mail.
Note, too, the number of poems the editor recommends including in the e-mail submission. If no quantity is given specifically for e-mails, go with the number of poems an editor recommends submitting in general. Identify your submission with a notation in the subject line. While some editors simply want the words “Poetry Submission,” others want poem titles. Check the market listing for preferences. Note: Because of spam, filters and other concerns, some editors are strict about what must be printed in the subject line and how. If you’re uncertain about any aspect of e-mail submission formats, double-check the website (if available) for information or contact the publication for directions.
Some publications may also accept submissions only via online submission forms, such as Submittable or Submishmash. These typically require setting up a log in and then either pasting the poems into a text box or attaching a digital file.
A chapbook is a booklet, averaging 24-50 pages in length (some are shorter), usually digest-sized (51⁄2×81⁄2, although chapbooks can come in all sizes, even published within the pages of a magazine). Typically, a chapbook is saddle-stapled with a soft cover (card or special paper); chapbooks can also be produced with a plain paper cover the same weight as the pages, especially if the booklet is photocopied.
A chapbook is a much smaller collection of poetry than a full-length book (which runs anywhere from 50 pages to well over 100 pages, longer for “best of” collections and retrospectives). There are probably more poetry chapbooks being published than full-length books, and that’s an important point to consider. Don’t think of the chapbook as a poor relation to the full-length collection. While it’s true a chapbook won’t attract big reviews, qualify for major prizes or find national distribution through chain bookstores, it’s a terrific way for a poet to build an audience (and reputation) in increments, while developing the kind of publishing history that may attract the attention of a book publisher one day.
Although some presses consider chapbooks through a regular submission process, many choose manuscripts through competitions. Check each publisher’s listing for requirements, send for guidelines or visit the website (absolutely vital if a competition is involved), and check out some sample chapbooks the press has already produced (usually available from the press itself). Most chapbook publishers are as choosy as book publishers about the quality of work they accept. Submit your best poems in a professional manner.
Before you send a manuscript to a book/chapbook publisher, request guidelines (or consult the publisher’s website, if available). Requirements vary regarding formatting, query letters and samples, length, and other considerations. Usually you will use 81⁄2×11, 20 lb. white paper; set left, right and bottom margins of at least one inch; put your name and title of your collection in the top left corner of every page; limit poems to one per page (although poems certainly may run longer than one page); and number pages consecutively. Individual publisher requirements might include a title page, table of contents, credits page (indicating where previously published poems originally appeared) and biographical note.
If you’re submitting your poetry book or chapbook manuscript to a competition, you must read and follow the guidelines. Failure to do so could disqualify your manuscript. Guidelines for a competition might call for an official entry form to accompany the submission, a special title page, a minimum and maximum number of pages, and specific formatting instructions (such as paginating the manuscript and not putting the poet’s name on any of the manuscript pages).
A cover letter is your introduction to the editor, telling him or her a little about yourself and your work. Most editors indicate their cover letter preferences in their listings. If an editor states a cover letter is “required,” absolutely send one! It’s also better to send one if a cover letter is “preferred.” Experts disagree on the necessity and appropriateness of cover letters, so use your own judgment when preferences aren’t clear in the listing.
A cover letter should be professional but also allow you to present your work in a personal manner. Keep your letter brief, no more than one page. Address your letter to the correct contact person. (Use “Poetry Editor” if no contact name appears in the listing.) Include your name, address, phone number and e-mail address (if available). If a biographical note is requested, include two to three lines about your background, interests, why you write poetry, etc. Avoid praising yourself or your poems in your letter (your submission should speak for itself). Include titles (or first lines) of the poems you’re submitting. You may list a few of your most recent publishing credits, but no more than five; and keep in mind that some editors find publishing credits tiresome—they’re more interested in the quality of the work you’re submitting to them.
Show your familiarity with the magazine to which you’re submitting: comment on a poem the magazine published, tell the editor why you chose to submit to her magazine, mention poets the magazine has published. Use a business-style format for a professional appearance and proofread carefully; typos, misspellings and other errors make a poor first impression. Remember that editors are people, too. Respect, professionalism and kindness go a long way in poet/editor relationships.
An SASE is a self-addressed, stamped envelope—and you should never send a submission by regular mail without one. Also include a SASE if you send an inquiry to an editor. If your submission is too large for an envelope (for instance, a bulky book-length collection of poems), use a box and include a self-addressed mailing label with adequate return postage paper-clipped to it.
If your poem appears anywhere in print for a public audience, it’s considered “previously published.” That includes magazines, anthologies, websites and online journals, and even printed programs (say for a church service, wedding, etc.). See the explanation for rights below, especially second serial (reprint) rights and all rights for additional concerns about previously published material.
One exception to the above guidelines is if your poem appears online in a private poetry forum, critique group, etc. As long as the site is private (i.e., a password is required to view and participate), your poem isn’t considered “published.” However, if your poem is printed on an online forum or bulletin board that’s available for public viewing, even if you must use a password to post the poem or to comment, then your poem is considered “published” as far as rights are concerned.
Editors usually indicate in their listings what rights they acquire. Most journals and magazines license first rights (a.k.a. first serial rights), which means the poet offers the right to publish the poem for the first time in any periodical. All other rights to the material remain with the poet. (Note that some editors state that rights to poems “revert to poets upon publication” when first rights are acquired.) When poems are excerpted from a book prior to publication and printed in a magazine/journal, this is also called first serial rights. The addition of North American indicates the editor is the first to publish a poem in a U.S. or Canadian periodical. The poem may still be submitted to editors outside of North America or to those who acquire reprint rights.
When a magazine/journal licenses one-time rights to a poem (also known as simultaneous rights), the editor has nonexclusive rights to publish the poem once. The poet may submit that same poem to other publications at the same time (usually markets that don’t have overlapping audiences).
Editors/publishers open to submission of work already published elsewhere seek second serial (reprint) rights. The poet is obliged to inform them where and when the poem previously appeared so they can give proper credit to the original publication. In essence, chapbook or book collections license reprint rights, listing the magazines in which poems previously appeared somewhere in the book (usually on the copyright page or separate credits page).
If a publisher or editor requires you to relinquish all rights, be aware that you’re giving up ownership of that poem or group of poems. You cannot resubmit the work elsewhere, nor can you include it in a poetry collection without permission or by negotiating for reprint rights to be returned to you. It’s highly recommended that poets refuse such an arrangement.
Copyright is a proprietary right that gives you the power to control your work’s reproduction, distribution and public display or performance, as well as its adaptation to other forms. In other words, you have the legal right to the exclusive publication, sale or distribution of your poetry. What’s more, your “original works of authorship” are protected as soon as they are “fixed in a tangible form of expression,” i.e., written down or recorded. Since March 1989, copyright notices are no longer required to secure protection, so it’s not necessary to include them on your poetry manuscript. Also, in many editors’ minds, copyright notices signal the work of amateurs who are distrustful and paranoid about having work stolen.
If you still want to indicate copyright, use the © symbol or the word copyright, your name and the year. If you wish, you can register your copyright with the Copyright Office (directions and form available for download from www.copyright.gov). Since paying per poem is costly and impractical, you may prefer to copyright a group of unpublished poems for that single fee.