The best thing emerging poets can do is find poetry magazines that will cherish their work. Ultimately, that’s how you grow a following since their readers are the sort that would happily become your readers.
Take a look at this:
We appreciate your submission. However, we’ve decided that your work isn’t a good fit for Vita Brevis, and we won’t be publishing it. But don’t be dissuaded–very few of our poets have been published on their first try! Read over some of our work, make sure your submission meets our exact guidelines, and then choose a new batch that you deem relevant. We make these decisions based on theme- and style-based criteria, so don’t take it personally! Thanks so much for your contribution! We hope to hear from you again.
We’re rooting for you,
The Vita Brevis Team
That’s a rejection email. Chances are, your first submission to Vita Brevis earned you one of these. If that’s the case, you’re in a pool of about 75%. Or maybe I only accepted one poem of the five you sent in for consideration. That’d put you in a pool of around 90%.
– Here’s our list of High-Acceptance Rate Poetry Publications –
Though I’ve put much care into tailoring Vita Brevis to meet the needs of new and emerging poets, I’d be doing them all a disservice if I didn’t freely send out rejections. I don’t do this to get poets “used to it”, but to bring them to a very important and often overlooked crossroads.
Rejection & How to Find Poetry Magazines that Care
I won’t bother listing platitudes about rejection and growth here–you can find that in tall supply from most other sources online. Instead, I’d like to talk about the function that rejection serves but the best way you can respond to it.
Let’s start here: the way I see it, poetry rejection leaves you with two options.
- First, you could keep trying to send out new work until it (hopefully) strikes the right chord, resulting in publication. That’s what I’ll call the passive approach. This is business-as-usual for most poets. And there certainly isn’t anything wrong with it, but it’s important to note that it doesn’t guarantee consistent publication. It’s just a more sophisticated version of throwing everything at the wall until something sticks. Typically, poets resort to this if they’re low on time or energy, if they’re stuck in their ways, or if they don’t recognize that there’s another approach available. And that’s ok. Sometimes it really works.
- But I’m partial to another approach. It’s the harder one. The more thoughtful one. The one that has you actively reach out to and research the publication that rejected you so you can figure out what went wrong. That’s what I’ll call the active approach. It’s much more conducive to being consistently published for reasons we’ll soon cover, and even if it doesn’t get your poetry into your publication of choice, it will no doubt be helpful elsewhere.
Poetry publication isn’t a numbers game (I cover this in depth in my guide to poetry publication). What matters more than how many publications you pitch is how well you pitch them. A few thoughtful submissions will always be better than many thoughtless ones.
So, you’ll need to do a bit of research. That doesn’t have to be upsetting or boring. In any domain of life, when an opportunity arises to learn more, there’s really no sense in ignoring it.
If we do, we run the risk of overlooking a via regia into self-improvement. That hidden path will remain hidden. And we’ll keep marching down the same ineffectual road, never bothering to search the brush for something new.
It’s much better to look for a new way. To figure out what works and what doesn’t. To think like an editor. And better yet, to think like the editor of the very magazine that you’re pitching your work to.
What do you think that person wants to see? What kind of poetry would they appreciate? What kind of poetry would they love? And what do you have to offer that most closely resembles that?
It might seem like you don’t have enough information at hand to know for sure. And sometimes that’s true. But in most cases, you have more than enough. Just about every major poetry publication lists some (if not all) of its poems online for free viewing.
Think about that: you have a long list of every poem that an editor ever decided was good enough for their magazine–just one click away from their submission page. Read them until you start to find patterns. Styles. Themes. And whenever you feel like you’re wasting your time, remind yourself: “One thoughtful submission is better than many thoughtless ones.”
Afterward, you’ll have a much better idea of what kind of poetry should send in.
Poetry Publications are their Editor’s Dating Profiles–Find out if You’re Good Companions
Any poetry publication worth its salt should read like a well-written dating profile. All the likes, dislikes, and preferences are right there for you to see. It’s open. It’s transparent. It’s a digital call for someone like-minded, someone it could really settle down with.
And much like dating, it’s a two-way street. Just because someone catches your eye doesn’t mean they’ll reciprocate. We all want to get our work accepted at The New Yorker or Tin House, but they might currently be out of our league. And learning that can help you figure out how to find poetry magazines that really resonate with your style.
But that works the other way too–plenty of publications might be happy to host your work, but they might not be what you’re looking for. If this sounds ridiculous, then you’re probably judging poetry publications by their utility. You’ll probably submit your work everywhere and anywhere to get as many eyes on it as possible. And you’re probably more of a passive-approach poet than an active-approach one.
Again, that’s fine. Exposure is invaluable, and if you can get it, more power to you. But it’s important to note that this might leave some of your efforts wasted.
Think about it. If you get your work published in a magazine that doesn’t showcase the type of poetry you typically write, then you probably aren’t reaching out to the right audience–and your time could have been better spent pitching a like-minded magazine. Why settle with someone who merely tolerates your work?
Arrange a Happy Marriage for your Poems
Just like poetry publications will be selective of poets, poets ought to be selective of publications. Currently, the onus of selectivity is disproportionately placed on the publication. They’re the ones who weed you out. But why can’t that go both ways?
If you’re a new poet, as many here at Vita Brevis are, then this tip may be jumping the gun a bit. We all have to get our feet wet somewhere, and there’s little reason to be too picky about our earliest publications, which can springboard us to grander opportunities.
But I urge you, as you move forward, to be selective of the lifelong companions you marry your poems off to. Send your work to publications that won’t just tolerate them but will cherish them. Aim for harmony. Aim for mutual respect. And above all, aim for a happy marriage.
About the Author
Brian Geiger is the founder and editor of Vita Brevis, a popular online poetry magazine, and Mental Life, a humanistic publication that merges psychology and philosophy. He’s a freelance writer currently studying to become a psychotherapist.