Cartoon submissions: Cartoons are reviewed on a rolling basis. You may send as many as ten cartoons per submission, but please do not submit more than once a month. We do not consider work that has appeared elsewhere including on Web sites and personal blogs , and we do not consider ideas for cartoons, only fully drawn cartoons. We also do not consider illustrations, caricatures, or covers.
We try to respond as soon as possible, but we do receive a large number of submissions. We do not accept submissions via mail or e-mail; instead, please upload your work via Submittable. Other submissions: We regret that we cannot consider unsolicited Talk of the Town stories or other nonfiction. Who picks the excerpt? Do you do all or most of the editing? What kind of collaboration, if any, is involved? It is usually a collaborative process. Sometimes a chapter stands alone as a story; more often, some cutting and splicing and piecing together of different elements from a novel is required.
Generally, I or one of the other fiction editors here will come up with a first draft, and then collaborate with the writer to make it as strong as possible—sometimes this requires the author to write additional lines or passages; sometimes plot points are adjusted slightly; sometimes a fifty-page section of a novel is pared down to twenty-five, or passages that are a hundred pages apart in the book are combined.
Our goal is to publish something that is a satisfying story in its own right—not to present a writing sample from a forthcoming novel. Sarah Crow Canterbury, N. On average, of the fifty or more pieces of fiction we publish a year, three to five are novel excerpts. What do you see as the role of fiction both short fiction and novels in our society? Tamara Linse Laramie, Wyo. Do we need fiction more during a recession, or less? Amrita Douglas New York, N. I find that writers tend to produce less during depressing or politically difficult times.
Sometimes, the brute force of fact outweighs the pleasures of invention. Do you know of any writers who you feel defy this characterization? Philip Bestrom. I would hope that writers everywhere are sensitive to trends in their own culture.
We rely on them to notice, to dissect, and to record social behavior so that we can learn from it, build on it, or improve it. As for insularity among American writers, I have yet to encounter any. I have not seen any fiction from Edward P. Jones in the magazine in the last two years. Kerouac will try something for us that is not about this particular group of wild kids.
Critics like Seymour Krim worried that The New Yorker , which had exhibited so much bite in its first few decades, was now getting complacent and reserved in middle age. But no magazine can be a completist omnibus of the cultural or political moment, and this one never aspired to be one. History will inevitably find it wanting in some way or another. A reader looking in the 50s archives for a profile of Chuck Berry will be disappointed.
The coverage of jazz did not prove worthy of the form until Shawn gave Whitney Balliett a jazz column, in , by which time rock and roll was under way. Ross had joined the magazine during the war, one of a small number of women who found a place there when so many men were in the service. Having obtained unfettered access to Huston, the cast, the set, and the relevant executives, Ross painted a dramatic, detailed, and wicked portrait of all the ambitions and compromises that go into even a failed and ephemeral production.
The influence of the work was significant. Political and foreign reporting had become a great deal more serious during the Second World War, and there was no going back to the wide-eyed, we-are-confused-little-men fripperies of the bygone world.
Reading the best of it here, you get an uncanny sense of writers coming to grips with issues and maps that are with us today. His running portrayal of the malign phenomenon of Joseph McCarthy was some of the most impressive political coverage that the magazine had yet produced. One of the first writers he hired was Dwight Macdonald, who had been an editor at Partisan Review.
The postwar 50s had a certain technological utopianism about them—not unlike our current era—and the magazine was notably alive to this. Shawn was wary of modern gadgetry he would not ride in an elevator without an attendant , but that did not quash his curiosity. Finally, Shawn had a sharp eye for that essential component of any institution that wishes to develop: new talent with new things to say. The 50s saw the rise of one such talent in particular, John Updike, who, for the next 55 years, was an unfailingly prolific and versatile contributor to The New Yorker.
His fine-grained prose was there from the start, and, with time, his sharp-eyed intelligence alighted on seemingly every surface, subject, and subtext. Updike was, out of the box, an American writer of the first rank.
One of the more persistent myths of the magazine came up in those Ross-era files—the putative tyranny of its stylistic prejudices. But the advantages outweigh such disadvantages.
Treisman has the extraordinary fortune to cast her editing eye and pen over people she idealized as a year-old, such as Don DeLillo. The magazine has contained work by some of the great literary luminaries such as Alice Munro, Jonathan Franzen and Haruki Murakami, but Treisman has rarely been star struck. Home Share Search.
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