FEED is published weekly online. Each digital edition contains work from around five contributors. They publish a wide range of styles, but in general, they prefer stark, impactful imagery. Submitting authors can read the journal online to get a sense of what they’re looking for.

FEED accepts submissions year-round, and submitting authors can expect a response within one to two weeks. Poets may submit three to five poems, totaling six pages or fewer. Authors of prose—fiction or nonfiction—may submit up to three pieces, 750 words or fewer each, totaling nine pages or fewer. FEED also accepts hybrid writing that blends poetry and prose.

Since FEED is meant to be consumed on the go, they aim to keep the publication readable on mobile devices. For that reason, they don’t accept poetry that relies on special formatting.

FEED accepts submissions via email, not online or by post. They accept simultaneous submissions but ask that authors withdraw work published elsewhere. They do not accept previously published work.

FEED only accepts submissions that adhere to the guidelines they’ve posted online. Please read these guidelines in full before submitting.

If you would like to learn more or submit to FEED, please visit their website here.

Bio: Ella Peary is the pen name for an author, editor, creative writing mentor, and submission consultant. Over the past five years, she’s written hundreds of articles for Authors Publish, and she’s also served as a copywriter and copy editor for a wide range of organizations and individuals. She is the author of The Quick Start Guide to Flash Fiction. She occasionally teaches a course on flash fiction. You can contact her at ellapeary@gmail.com.

Black Cat Mystery Magazine
They want contemporary and traditional mysteries, as well as thrillers and suspense stories. They are looking for “Private eye stories, cozy stories, and edgy, noir-tinged stories—all of which happen to contain a crime of some sort. We want stories with characters who feel real, in situations that are possible (and plausible),” according to their guidelines. They do not want flash fiction, poetry, routine revenge stories, stories that feature sadism for the sake of sadism, or stories that feature supernatural elements: no vampires, werewolves, ghosts, or otherworldly monsters—unless thoroughly debunked by story’s end. They particularly do not want genre fantasy, horror, science fiction, romance, or westerns, unless they feature a crime. Even then, it’ll be a hard sell.
Deadline: 30 September 2021
Length: 1,000-8,000 words (will read up to 15,000)
Pay: $0.03/word up to $250
Details here (scroll down).

The Cincinnati Review
This literary magazine accepts fiction, literary nonfiction, poetry, and poetry translations. Query for drama. They accept online submissions only, except from writers with disabilities or those who are incarcerated. There is no cash payment for micro, their weekly flash feature. They read submissions in September, December, and May.
Deadline: 30 September 2021, or until submission cap is reached
Length: Fiction can be up to 40 pages, non-fiction up to 20 pages, and five poems
Pay: $25/page for prose in the journal, $30/page for poetry
Details here.

The LaHave Review
This Nova Scotia-based magazine publishes poetry. They do not publish translations, book reviews, essays or anything other than original poems in English. They read submissions during September.
Deadline: 30 September 2021
Length: Up to six poems
Pay: CAD45/poem
Details here (scroll down).

Nashville Review
They publish fiction (short stories, flash pieces, novel excerpts), poetry, nonfiction (memoir excerpts, essays, imaginative meditations), translations, and comics. Their guidelines say, “From expansive to minimalist, narrative to lyric, epiphanic to subtle: if it’s a moving work of art, we want it.” They read submissions in January, May, and September; art and comics are received year-round.
Deadline: 30 September 2021
Length: Up to 8,000 words for prose; up to three poems (up to two poems in case of translation)
Pay: $25 per poem, $100 for prose and art pieces
Details here.

Bio: S. Kalekar is the pseudonym of a regular contributor to this magazine. She is the author of 182 Short Fiction Publishers. She can be reached here.

Bulletin, Substack, and Revue are the the three services currently leading in this field. While these different platforms perform the same function in terms of sharing and monetizing the content you create, there are still slight differences between them which make them favorable or unfavorable, depending on the content creator.

Platform Purpose and Function:

Bulletin: This is a recently launched writing platform by Facebook to help independent writers and content creators make a living off their creative work. Bulletin is designed to approach journalism and writing from an angle that benefits writers. With it being new to the business of writing and paying writers, it is still only available to be monetized by select writers, handpicked by Facebook.

There’s no definite information about the platform’s intention to be made accessible to non-selected writers yet.

Substack: This is an email newsletter publication accessible to all writers regardless of location. The platform allows both upcoming and established writers to create and monetize through paid subscriptions and donations. Substack leverages writers’ independence to write whatever and provides the audience a way to support them.

Revue: This is a newsletter publication recently acquired by Twitter to spark and enhance conversations the microblogging site already encourages. The idea behind Revue is to give writers with Twitter accounts the opportunity to monetize their content through paid subscriptions.

Platform Business Model

Bulletin: The idea behind Bulletin is to help independent writers generate revenue through paid subscriptions during their period of partnership with Facebook. Presently, this option to earn while using Bulletin as a writer is still subject to Facebook’s selection process.

Substack: This is a free publication newsletter open to the public. The platform allows independent writers to create content and also monetize their creativity. As a writer on the platform, you can either decide to make it completely free or paywall your content. Substack takes 10% of revenue generated from paywalled content.

Revue: This is designed to cater to writers and content creators with Twitter profiles, making Twitter a better home to writers. Revue provides writers and creators on Twitter a means to monetize their skills through paid subscriptions.

Writer Monetization Method

Bulletin: Monetization is one of the major reasons why Facebook launched Bulletin. As a writer on this platform, earning is made easier as you’re paid directly by Facebook. On Bulletin, writers determine the price for newsletter subscriptions and can pull their content and subscribers whenever they deem fit.

Substack: Monetization on Substack is solely dependent on the individual writer. A writer can either decide to make their content free or paywall them. When paywalled, Substack deducts a 10% fee from the writer, with a 2.9% fee by Stripe and up to 10% for income tax, depending on the writers’ location. Presently, monetization on Substack is limited to only locations where Stripe is available.

Revue: While Revue caters to writers with Twitter profiles, it provides the opportunity to monetize their skill through paid subscriptions fees which are sent through Stripe.

Just like Substack, this monetization process is limited only to writers in regions where Stripe is available.

Content Discovery

Bulletin: One of the avenues through which Bulletin is setting the pace for independent writers is through its discovery tool. To connect writers to their readers, Facebook provides distribution via Facebook News and through other channels like the Facebook page. Bulletin also allows writers to publish and share their works across different social platforms, thereby helping audiences interested in particular subjects to locate and subscribe to their newsletter.

Substack: There’s a limited content discovery tool on Substack. The platform only has a leader board page displaying top posts and newsletters. This makes the discovery of smaller newsletters difficult.

Revue: There’s no real way to find new content or content creators on Revue.

Platform Tools

Bulletin: This has writing, publishing, and distribution tools that make the process easier for independent writers. Each creator on the platform has access to a standalone website in which they can customize the color palette, logo, and name of their publication. There are also writing tools that allow writers to customize articles, and embed multimedia.

The platform also has analytics which helps writers understand and keep track of their audience flow. Writers on the platform can create community groups (paywalled or not, or hybrid) with features for communication like Facebook Live and Live Audio Rooms.

Comments can be moderated, third-party features like design support and financial services, and legal resources are extended to Bulletin writers with the addition of editorial independence.

Substack: On Substack, you get your domain when you choose a URL which is also where your newsletter archive is hosted. Substack has comment moderation and paywall settings and a word processor built in where you can write and format posts.

One of the interesting things about Substack that attracts writers is its analytics that gives a detailed rundown on email open rates, subscribers’ engagement with embedded links they clicked in your newsletter, which makes it great for email marketing. Substack users also have the opportunity to pull off the platform at any time.

Revue: Revue comes with different writing and publishing tools for writers as well as tools to design their domain. On Revue, there’s also Google analytics to help writers keep track of their audience flow.

Final Thoughts

What these newsletter platforms have in common is: they offer writers an avenue to build, reach an audience, and generate revenue in the process. Their operation rules and methods of monitization differ slightly, which is often what determines a writer’s interest.

Bio: Olaitan French is the pen name of an African writer, author, economist, and poetry editor. He has received multiple nominations for his works, published in several journals and anthologies. He has mentored in workshops, paneled in prizes, and organized literary events, festivals, and masterclasses.

We selected the recipient of the fund using a random number generator. We are announcing the winners of the July and August. We are sorry they are a little late.

Thank you to everyone who has applied.

Journals who have already submitted themselves for consideration will be considered in future draws as well. There is no need to resubmit.

The recipient of for the July fund is Blue Marble Review, an online literary journal showcasing the creative work of young writers ages 13-22. They are looking for poetry, fiction, creative nonfiction, personal essays, as well as art and photography. The goal of their journal is to assemble in each issue, a broad range of voices, perspectives, and life experiences.

The other recipient is Lamplit Underground, an online literary/arts magazine devoted to all that is slightly odd, a touch off-putting and, in most cases, beautifully so. The title comes from a group of kids hiding in an underground fort with lamplight and walkie-talkies. It is nostalgic, it is unique, it is frightening. It is not a haven for the crude or the rude, but rather the brave, the adventurous, and the eerily grotesque.

There are currently 17 literary journals on the application list, so if you run a journal that needs funding, don’t hesitate to apply. If you know of a journal that needs funding, please encourage the editor(s) to apply for the funding.