Standout Markets Spotlight: Creative Nonfiction magazine

In the July/August issue of WD, Creative Nonfiction is among the handpicked venues spotlighted in our Standout Markets column. In this special online exclusive, we share an expanded Q&A with Creative Nonfiction’s managing editor, Hattie Fletcher.

Other keys to breaking in: Try our daily Twitter challenge: we feature the best #cnftweets in the print magazine and online.

What makes us unique: We do publish some work online, but on the whole, we like to think of Creative Nonfiction as a respite from the fast-paced, jangly online world—a space for immersion in stories, for nuance and reflection and complexity. We take the time to think about things deeply and in detail.

We might be a good fit for you if: You love to write (or read) well-crafted, beautifully written, artfully articulated nonfiction.

Other submission tips: We take online submissions and pitches for departments, but we read paper submissions, too. Simultaneous submissions are ok (it usually takes us a while to read and respond), but we’re not looking for previously published work.

What will really make a piece stand out to you in the submissions inbox?

The bar is somewhat higher for a more familiar story; the writing has to be really terrific. But if the subject matter or perspective is especially fresh and new, our editors are often willing to put a little extra work in to get a piece ready for publication. For example, this spring we’re doing an issue with a “Marriage” theme; not surprisingly, we received a wide range of wonderfully interesting stories about writers’ own marriages. We would have loved to see a good story by a florist, or from an attorney specializing in pre-nups, or from a wedding photographer, or—I don’t know—someone who designs decorations for bachelorette parties.

What do you see a lot of in your inbox that you do NOT want? We get pieces that might be best described as “Let me tell you about my weird/mysterious/annoying neighbor.” These are often not completely uninteresting, but they typically lack a larger context that would make them meaningful to a larger audience.


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