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The New Yorker: Fiction

From wnyc radio.

A monthly reading and conversation with the New Yorker fiction editor Deborah Treisman.Produced by The New Yorker and WNYC Studios.

Most Recent Episodes

August 1, 2024, david sedaris reads george saunders.

August 1, 2024 • David Sedaris joins Deborah Treisman to read and discuss "Love Letter," by George Saunders, which was published in The New Yorker in 2020. Sedaris is the author of more than a dozen books of essays, memoirs, and diaries, including, most recently, "A Carnival of Snackery" and "Happy-Go-Lucky."

July 1, 2024

Nathan englander reads chris adrian.

July 1, 2024 • Nathan Englander joins Deborah Treisman to read and discuss "Every Night for a Thousand Years," by Chris Adrian, which was published in The New Yorker in 1997. Englander is the author of five books of fiction, including the novel "kaddish.com" and the story collection "What We Talk About When We Talk About Anne Frank," which was a finalist for the Pulitzer Prize in 2013.

June 1, 2024

André alexis reads alice munro.

June 1, 2024 • André Alexis joins Deborah Treisman for a special tribute to Alice Munro, who died in May at age ninety-two. Alexis reads and discusses "Before the Change," by Munro, which was published in The New Yorker in 1998. Alexis's works of fiction include "Fifteen Dogs," which won the Giller Prize, "Days by Moonlight," and the story collection "The Night Piece," which was published in 2020.

May 1, 2024

Rachel cusk reads marguerite duras.

May 1, 2024 • Rachel Cusk joins Deborah Treisman to read and discuss "The Bible" and "The Stolen Pigeons" by Marguerite Duras, which were translated from the French, by Deborah Treisman, and published in *The New Yorker* in 2006 and 2007. Cusk is a winner of the Whitbread First Novel Award and the Somerset Maugham Award, and is the author of five books of nonfiction and twelve novels, including "Arlington Park," "Outline," "Transit," "Kudos," and "Parade," which will be published in June.

April 1, 2024

David bezmozgis reads sarah shun-lien bynum.

April 1, 2024 • David Bezmozgis joins Deborah Treisman to read and discuss "Likes," by Sarah Shun-lien Bynum, which was published in The New Yorker in 2017. Bezmozgis is a filmmaker and writer. He has published two story collections and two novels, "The Free World," which was a finalist for the Governor General's Award and the Giller Prize, and "The Betrayers," which won the National Jewish Book Award. He was also chosen as one of The New Yorker's 20 Under 40 in 2010.

March 1, 2024

Greg jackson reads jennifer egan.

March 1, 2024 • Greg Jackson joins Deborah Treisman to read and discuss "Safari," by Jennifer Egan, which was published in The New Yorker in 2010. Jackson has published a story collection, "Prodigals," and a novel "The Dimension of a Cave," which was one of The New Yorker's Best Books of 2023. He has been publishing in the magazine since 2014.

February 1, 2024

Sterling holywhitemountain reads roberto bolaño.

February 1, 2024 • Sterling HolyWhiteMountain joins Deborah Treisman to read and discuss "Labyrinth," by Roberto Bolaño, translated from the Spanish by Chris Andrews, which was published in The New Yorker in 2012. HolyWhiteMountain is a Jones Lecturer at Stanford, and grew up on the Blackfeet Reservation in Montana.

January 1, 2024

Rivka galchen reads aleksandar hemon.

January 1, 2024 • The author joins Deborah Treisman to read and discuss the story "The Bees, Part 1," which was published in a 2002 issue of The New Yorker.

December 1, 2023

Teju cole reads anne carson.

December 1, 2023 • The author joins Deborah Treisman to read and discuss the story "1=1," which was published in a 2016 issue of The New Yorker.

November 1, 2023

Margaret atwood reads mavis gallant, live.

November 1, 2023 • Margaret Atwood joins Deborah Treisman to read and discuss "Varieties of Exile," by Mavis Gallant, which was published in The New Yorker in 1976. Atwood is the author of more than forty books of poetry and fiction, including the novels "The Handmaid's Tale" and "The Testaments" and the story collection "Old Babes in the Wood," which was published earlier this year. This is the first episode of the New Yorker Fiction Podcast to be recorded in front of a live audience. It was taped at the Hot Docs podcast festival, in Toronto, on October 21, 2023.

The New Yorker: Fiction

• UPDATED MONTHLY

A monthly reading and conversation with the New Yorker fiction editor Deborah Treisman.

David Sedaris Reads George Saunders

David Sedaris joins Deborah Treisman to read and discuss “Love Letter,” by George Saunders, which was published in The New Yorker in 2020. Sedaris is the author of more than a dozen books of essays, memoirs, and diaries, including, most recently, “A Carnival of Snackery” and “Happy-Go-Lucky.”

Nathan Englander Reads Chris Adrian

Nathan Englander joins Deborah Treisman to read and discuss “Every Night for a Thousand Years,” by Chris Adrian, which was published in The New Yorker in 1997. Englander is the author of five books of fiction, including the novel “kaddish.com” and the story collection “What We Talk About When We Talk About Anne Frank,” which was a finalist for the Pulitzer Prize in 2013.

André Alexis Reads Alice Munro

André Alexis joins Deborah Treisman for a special tribute to Alice Munro, who died in May at age ninety-two. Alexis reads and discusses “Before the Change,” by Munro, which was published in The New Yorker in 1998. Alexis’s works of fiction include “Fifteen Dogs,” which won the Giller Prize, “Days by Moonlight,” and the story collection “The Night Piece,” which was published in 2020.

Rachel Cusk Reads Marguerite Duras

Rachel Cusk joins Deborah Treisman to read and discuss "The Bible" and “The Stolen Pigeons” by Marguerite Duras, which were translated from the French, by Deborah Treisman, and published in *The New Yorker* in 2006 and 2007. Cusk is a winner of the Whitbread First Novel Award and the Somerset Maugham Award, and is the author of five books of nonfiction and twelve novels, including "Arlington Park," "Outline," "Transit," "Kudos," and "Parade," which will be published in June.

David Bezmozgis Reads Sarah Shun-lien Bynum

David Bezmozgis joins Deborah Treisman to read and discuss “Likes,” by Sarah Shun-lien Bynum, which was published in The New Yorker in 2017. Bezmozgis is a filmmaker and writer. He has published two story collections and two novels, “The Free World,” which was a finalist for the Governor General's Award and the Giller Prize, and “The Betrayers,” which won the National Jewish Book Award. He was also chosen as one of The New Yorker's 20 Under 40 in 2010.

Greg Jackson Reads Jennifer Egan

Greg Jackson joins Deborah Treisman to read and discuss “Safari,” by Jennifer Egan, which was published in The New Yorker in 2010. Jackson has published a story collection, “Prodigals,” and a novel “The Dimension of a Cave,” which was one of The New Yorker's Best Books of 2023. He has been publishing in the magazine since 2014.

Sterling HolyWhiteMountain Reads Roberto Bolaño

Sterling HolyWhiteMountain joins Deborah Treisman to read and discuss “Labyrinth,” by Roberto Bolaño, translated from the Spanish by Chris Andrews, which was published in The New Yorker in 2012. HolyWhiteMountain is a Jones Lecturer at Stanford, and grew up on the Blackfeet Reservation in Montana.

Rivka Galchen Reads Aleksandar Hemon

The author joins Deborah Treisman to read and discuss the story “The Bees, Part 1,” which was published in a 2002 issue of The New Yorker.

Hosts & Guests

Deborah treisman, nathan englander, andré alexis, david bezmozgis, greg jackson, roberto bolaño, rivka galchen, lucinda rosenfeld, andrew o'hagan, ratings & reviews, information.

• Channel The New Yorker
• Creator WNYC Studios and The New Yorker
• Years Active 2007 - 2024
• Episodes 210
• Rating Explicit
• Copyright © Condé Nast. All rights reserved.
• Show Website The New Yorker: Fiction

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The New Yorker: Fiction

210 Episodes

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The New Yorker , American weekly magazine , famous for its varied literary fare and humour. The founder, Harold W. Ross , published the first issue on February 21, 1925, and was the magazine’s editor until his death in December 1951. The New Yorker ’s initial focus was on New York City’s amusements and social and cultural life, but the magazine gradually acquired a broader scope that encompassed literature , current affairs, and other topics. The New Yorker became renowned for its short fiction , essays, foreign reportage , and probing biographical studies, as well as its comic drawings and its detailed reviews of cinema, books, theatre, and other arts. The magazine offered a blend of reportage and commentary, short stories and poetry, reviews, and humour to a sophisticated, well-educated, liberal audience.

The New Yorker ’s contributors have included such well-known literary figures as S.J. Perelman , Robert Benchley , Ogden Nash , E.B. White , John O’Hara , Edmund Wilson , J.D. Salinger , John Updike , Rebecca West , Dorothy Parker , Alice Munro , Jane Kramer, Woody Allen , John McPhee , and Milan Kundera . Among its great cartoonists have been Charles Addams , Helen Hokinson , George Price , James Thurber (a writer as well), Roz Chast , Saul Steinberg , Gahan Wilson, William Steig , Edward Koren, and Rea Irvin , who was the magazine’s first art director and the creator of Eustace Tilley, the early American dandy (inspired by an illustration in the 11th edition of Encyclopædia Britannica ) who appeared on the cover of the first issue and on annual covers thereafter.

In 1985 The New Yorker was sold to the publisher Samuel I. Newhouse, Jr., this being the first time in its history that the magazine’s ownership had changed hands. William Shawn was the magazine’s editor in chief from 1952 to 1987, when he was succeeded by Robert Gottlieb, formerly a book editor and executive at Alfred A. Knopf publishers. In 1992 a Briton, Tina Brown , formerly editor of Vanity Fair , replaced Gottlieb. Under Brown’s editorship, cosmetic changes to the magazine’s traditionally conservative layout were introduced, coverage of popular culture was enhanced , and more photographs were published. In 1998 Brown left the magazine and was replaced by staff writer David Remnick. The New Yorker continued to attract leading writers and remained among the most influential and widely read American magazines.

The New Yorker Fiction Review

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Essay: “Allah Have Mercy”

Posted in the April 1, 2024 issue of The New Yorker, “Allah Have Mercy,” by Mohammed Naseehu Ali, is an exceptional story of a boy’s initiation into psychological and physical violence at the hands of a disciplinarian uncle. While occasionally it is difficult to think of something cogent to say about a newly published story, in this case Mr. Ali’s work is so thought provoking and emotive that the converse is true–it is impossible to do justice to such a great work in such a short post. If you’d like to take a deeper dive, please head over our In Discussion page to read excerpts from our discussion of this wonderful story.

Although the title raises the prospect that this a predominantly religious story, it is not. Set in a contemporary community with a religious backdrop, it is more a story about how the narrator tries to make sense of the harsh and escalating abuse, both of himself and his cousin, by a notorious uncle who is headmaster at the local madrassa (religious school) and the community’s self-appointed arbiter and enforcer of decorum–a disciplinarian both by profession and vocation. So domineering is this uncle that the entire community–even the three grandmothers who are said to be the only ones who can subordinate him to grace–are both powerless to prevent his abuse, and, out of fear turn, a blind eye to it (with the notable exception of the boy’s mother, who does what she can). This bystander effect–we’d call it moral cowardice, but, on second thought, we can’t be certain what we would do in such a situation–pervades the story and is stunningly resonant in light of the narrative’s beautifully ambiguous conclusion.

And while this story can be discussed from many interesting angles, here we would like to briefly highlight how it can be read as a political allegory for tyranny. The uncle, despite his pretensions to devotion and his scholarly credentials, is really nothing but a whip-yielding sadist (nickname: Zorro, somewhat ironically) and inveterate bully; a hypocrite who presents himself, and is venerated as, a moral authority; but in reality, this veneer scarcely masks a capricious moral coward who uses his physical stature to intimidate and subordinate boys. Like dictators, the uncle trades in fear and leaves his victims–those he supposedly serves to protect–physically and psychologically traumatized. Likewise, through fear he robs his people of their agency and renders them incapable of voicing any form of discontent. Every act of agency is an act of sedition; in the story, the uncle’s most heinous and arbitrary beating is seemingly triggered by the newfound confidence and air of freedom exhibited by the narrator and his cousin Hafiz (Uncle Usama’s son), after their return from a joyful sojourn to a pool and recreation facility in the aftermath of the uncle’s first beating of the narrator. Notably, this was a trip that the uncle had both granted rare sanction for, and had even financed, in an uncharacteristic show of beneficence, in the form of lorry fare and money for snacks.

Following this second and more savage beating, the narrator’s mother pulls him from school for a week to convalesce; he fares much better than Hafiz, who disappears for an extended period after running away and reemerges permanently altered–perpetually nervous and submerged in his own escapist world of imaginary friends, whom he speaks to. Mad Hafiz, as his schoolmates begin to call him due to his nervousness and nascent bouts of paranoia, is said by members of the community to be possessed by evil jinns, a kind of supernatural creature; this, despite his condition being the obvious consequence of his uncle’s abuse. And while members of the community publicly endorse this jinn explanation, we assume that their apparent superstition is in reality tacit compliance due to fear of the uncle, or a kind of cognitive dissonance to assuage their own consciences for their failure to intervene in the abuse. The uncle, in true despot form, even capitalizes on, and perpetuates, the supernatural scapegoat:

[Uncle Usama] also created a powerful talisman inscribed with all the ninety-nine names of Allah. The talisman, sewn in crocodile skin, was given to Hafiz to carry on his body at all times, to help drive away the bad jinns.

The narrator, though, in his mind at least, questions this:

But, in my own mind, I questioned whether any jinn was truly following Hafiz; I had a feeling that his behavior was a direct result of his constant state of anxiety caused by Uncle’s explosive temper.

When the uncle meets his unexpected demise at the end of the story, the narrator, despite his previous skepticism, cannot escape the hulking shadow of his domination–perhaps a kind of Stockholm Syndrome:

“Allah have mercy,” I repeated, though deep in the pit of my stomach I felt that my cries and prayers were not meant for Uncle Usama but for Hafiz. For Allah to have mercy and keep the jinns away from my cousin, as Uncle Usama would not be around to defeat them the next time they tired to steal Hafiz from us.

And while the uncle can certainly be viewed as a one-dimensional psychopath, it is also possible to view him as a more complex character. In the first reading, he is a master manipulator who sets the narrator and Hafiz up in order to publicly knock them down–similar to how Winston Smith is “rehabilitated” and executed precisely at the moment that his brainwashing culminates in a feeling of genuine love for Big Brother, in Orwell’s Nineteen Eighty-Four . In this case, the uncle is a pure sadist. But it is also possible to see him as psychologically nuanced, a character who feels legitimate contrition and attempts to change–but, human as he is, he succumbs to base impulses despite his best intentions otherwise:

Uncle continued to act so nicely [due to his apparent contrition] that even the pupils at the madrassa agreed that a change of some kind had occurred. He actually went a whole month without whipping a student…myself included, enjoyed the freedom that came with Uncle’s sudden change of character. We hoped and prayed that Uncle Usama had truly turned over a new leaf.

Thus it seems plausible that the uncle, as sadistic as he is, was moved to change but falls short and rebounds in a final act of unfettered anger.

The resonance of this great story is crystallized in the conclusion through the ambiguity that surrounds the uncle’s death and the sense of ambivalence that the narrator feels as he tries to make sense of it. As above, there are so many great things to discuss and think about with this story; so please head over to In Discussion to read excerpts from Colin and Jennifer’s discussion of this multi-layered masterpiece.

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•  In Discussion: “Opening Theory”  July 17, 2024

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James McBride at the NBF: “Love is the greatest … novel ever written.”

August 27, 2024

Posted by: Neely Tucker

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James McBride , winner of the Library’s 2024 Prize for American Fiction , took the main stage at the National Book Festival last weekend, delighting a rapturous crowd with anecdotes and observations about his bestselling books and his remarkable writing career.

A Washington Post journalist early on, and a professional musician for years, McBride did not write his first book until his mid-30s — and that was the “The Color of Water,” a memoir that has sold millions of copies all over the world.

“I like people, I listen to people,” he said at Saturday’s event. “… and I happen to look to the kindness in people. And when you look to the kindness in people, you see their depth.”

He pulled a small notebook from a pocket to show he always carries one to jot down names, ideas and quotes he overhears in everyday conversation, which he then uses or approximates in his fiction.

“People are just handing me money when they talk,” he said.

It was that kind of wry remark, delivered with perfect comic timing, that delighted the audience through his nearly hourlong presentation. Smart, insightful and thoughtful, McBride got his biggest laughs when being down to earth. When asked by moderator Michel Martin of NPR how he was handling being the Fiction Prize winner and the festival’s marquee attraction, McBride — seated, with his legs crossed, on a raised stage in front of nearly 3,000 people — looked down and said, “Well, I wish I’d worn some longer socks so that people can’t see my ankles.”

A 66-year-old native New Yorker and a distinguished writer-in-residence at New York University, McBride went to New York City public schools, studied music composition at Oberlin Conservatory of Music and got his master’s degree in journalism at Columbia University.

After an impressive music career — he composed songs for Anita Baker and toured as a saxophone player for jazz singer Jimmy Scott — the success of “Water” led him to pursue writing full time. He has written eight books, most of them fiction. “The Good Lord Bird,” winner of the 2013 National Book Award for Fiction, was a freewheeling retelling of John Brown’s raid on Harpers Ferry in 1859. His most recent novel, “The Heaven & Earth Grocery Store,” set in the Black section of a small Pennsylvania town in the 1930s, was awarded the 2023 Kirkus Prize for Fiction and named the 2023 Book of the Year by Barnes & Noble. His previous novel, “Deacon King Kong,” was an Oprah’s Book Club selection.

He was awarded the National Humanities Medal by President Barack Obama in 2015 for “for humanizing the complexities of discussing race in America.”

His books have “have pierced through American psyche and culture,” said Librarian of Congress Carla Hayden, introducing him on Saturday. “He connects diverse people in his thought-provoking and poignant art, taking us on an emotional joyride in his stories.”

“The Heaven & Earth Grocery Store” is vintage McBride, telling a small-town story about people whose actions are sometimes questionable but whose humanity is not.

The narrative centers around a modest store run by a Jewish woman in the Black community called Chicken Hill on the outskirts of Pottstown, Pennsylvania, in the 1930s. Hardworking Black and Jewish people, ignored or insulted by the town’s white founders and leaders, get by as best they can.

Community life takes a turn when a 12-year-old orphaned, nearly deaf Black boy is blamed for assaulting a white doctor who is, as everyone knows, a leader in the local Ku Klux Klan. The child is sent to a horrific asylum for the mentally ill, drawing the cast of characters together.

The book grew from McBride’s teenage experiences working as a summer counselor at a camp for neuro-divergent children. He learned, he said on Saturday, that “disabled” people were actually marvelous observers of life around them, as nearly everyone discounted and ignored them.

“It changed my life,” he said of the experience, adding later: “If your job is to find the humanity in people, look to the differently abled.”

McBride, as he wrote about so poignantly in his now-classic memoir, was mostly raised by his mother, a Jewish woman who passed herself off as “light skinned” in their Black neighborhood. As a child, when he asked her what color God was, she replied, “the color of water,” giving the book its title and McBride his concept of universal acceptance.

“Love is the greatest,” he said in closing. “It’s the greatest novel ever written.”

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Michael Cyril Creighton: Howard more important to 'Only Murders' sleuths in Season 4

NEW YORK, Aug. 27 (UPI) -- Michael Cyril Creighton says that Howard, the enthusiastic, resourceful neighbor he plays in Hulu's Only Murders in the Building , is becoming a more essential part of the mystery dramedy's central sleuthing team with each season.

Kicking off Season 4 on Tuesday, the series follows actor Charles ( Steve Martin ), Broadway producer Oliver ( Martin Short ) and artist Mabel ( Selena Gomez ) as they investigate, for a podcast, the murders of quirky victims in the posh Arconia apartment complex. Advertisement

"He is desperately searching for their approval, and I think he's getting it a little bit more this season," Creighton told UPI about Howard in a recent Zoom interview.

This season sees the noted animal lover adopt Gravey, a rescue dog who gives Howard a reason to sniff around the trio's latest case, the murder of Charles' stunt double, Sazz ( Jane Lynch ).

"I'm not sure I can specifically say how, though," Creighton said, guarding the show's secrets until after viewers get a chance to watch.

"Howard is always looking for his own sidekick, in a way, and always looking to not be the supporting character, so she helps him, gives him the confidence to be the main character of his own story. She's a little sidekick."

The Dexter: New Blood, Marvelous Mrs. Maisel and American Fiction actor had nothing but kind words for his canine co-star on Only Murders in the Building .

"Gravey is one of the hardest working actors-slash-dogs I've ever met," Creighton said.

"She was such a pro. She never gave me any trouble and she always hit her mark. That dog has to do a lot of things in the first episode, and she does them beautifully."

The first episode of the new season shows Howard pitching an idea to Mabel for a new pet-themed podcast.

"He would love to work with Mabel!" Creighton said. Advertisement

"I think Mabel is Howard's favorite," he added. "Howard feels a real connection to Mabel because, in a way, he thinks he's as cool as a young girl."

The actor said he has also enjoyed playing a character whose previously undisclosed talents or knowledge frequently save the day.

"It's incredible," Creighton said.

"When I started the show, I was only supposed to do two episodes, and we all knew two things about him: he loved cats and he was a gossip," he added.

"Now, by the fourth season, he has such a rich inner life. The writers add things to his life every single episode. I'm always constantly delighted, and in some ways challenged by all of the cool stuff that I get to do as this character. I love it."

While the show's writers welcome his input, there isn't much time or space for improvisation once the cameras start rolling.

"I tend not to improv, just because I think the writing is so rich and so strong," Creighton said.

"We'll do a freedom take where we get to play around, but I sometimes have thoughts. I feel like i know Howard really well, but I also trust that the showrunner [John Hoffman] and writers know Howard really well, so I've never come across a script where I thought, 'Howard wouldn't say this.' I always think, 'Wow, you get me and him, yes!'" Advertisement

Season 4 adds Eugene Levy , Zach Galfanakis and Eva Longoria as fictionalized versions of themselves preparing to play Charles, Oliver and Mabel in a movie.

The plot line, along with Sazz's murder, take Charles, Oliver and Mabel to Los Angeles, but Howard and his extensive knit-vest collection won't be heading to the West Coast any time soon.

"Someone has to keep the building safe," Creighton quipped.

"I think Howard's a New Yorker through and through, although I would love to see Howard in Los Angeles," he added. "I think he would be very sweaty, but would have a really good time."

The actor is also an apartment-dweller in real life, but he said he doesn't keep tabs on his neighbors the way Howard does at the Arconia.

"I live in a building in New York -- six floors, a few hundred residents," he added. "I don't really know anybody, so [the show is] a little different than my life experience, but I think I do understand the feeling of community and I think community is such a big part of living in New York. If you don't have it, you're lost. So, that, for me, is very universal." Advertisement

The show's cast also includes Meryl Streep , Da'Vine Joy Randolph, Kumail Nanjiani and Richard Kind.

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I Got Published In The New Yorker: Tips And Insights From A Successful Submitter

Getting your writing published in the prestigious pages of The New Yorker is a career-defining accomplishment for any writer or journalist. The magazine’s legendary selectivity and rigorous editing process means that just landing an article, short story or poem in The New Yorker is a major success worthy of celebrating. But how does one actually go about getting published there? In this comprehensive guide, we share insider tips and hard-won lessons from someone who successfully made it into the hallowed pages of The New Yorker.

If you’re short on time, here’s a quick answer to your question: The keys to getting published in The New Yorker are 1) Target your submissions carefully by deeply understanding the magazine’s voice and sections, 2) Perfect and polish your best work before submitting, and 3) Persist through rejection after rejection until an acceptance finally comes through .

In the sections below, we’ll share everything I learned and did along my journey to New Yorker publication, from how I identified what to pitch and submit, to handling those inevitable rejection slips, to working with editors once a piece was accepted. I’ll also pass along wisdom from New Yorker staff and other successful contributors. Whether you’re a writer who dreams of seeing your name under those distinctive cartoons and columns, or simply curious about the submission process, use this guide to gain real-world insights into achieving the writing milestone of getting into The New Yorker.

Understanding The New Yorker’s Editorial Needs

Getting published in The New Yorker is a dream for many writers. With its prestigious reputation and high editorial standards, it’s no wonder that aspiring authors aim to see their work in its pages. To increase your chances of success, it’s important to understand The New Yorker’s editorial needs.

Here are some tips and insights to help you navigate the submission process.

Studying the different sections of the magazine

The New Yorker is known for its diverse range of content, covering topics such as fiction, poetry, essays, cartoons, and more. To better understand what the magazine is looking for, it’s essential to study the different sections and get a sense of their style and themes.

Spend time reading through past issues and familiarize yourself with the types of pieces that are typically published in each section.

For example, if you are interested in submitting fiction, read stories from previous issues to get a feel for the kind of narratives that resonate with The New Yorker’s readership. Pay attention to the tone, language, and themes explored in these stories.

This will give you valuable insights into what the editors are looking for and help you tailor your submission accordingly.

Reading issues like an editor

When reading The New Yorker, approach it with an editor’s mindset. Take note of the articles, essays, or poems that stand out to you and analyze what makes them compelling. Consider the structure, writing style, and unique perspectives that make these pieces successful.

By doing this, you’ll start to develop an understanding of the editorial preferences and tendencies of The New Yorker.

Additionally, pay attention to the topics and subject matters covered in the magazine. Are there any recurring themes or areas of interest? Understanding the magazine’s editorial direction will help you align your work with their needs and increase your chances of catching the attention of the editors.

Remember, The New Yorker receives an overwhelming number of submissions, so it’s crucial to stand out from the crowd. By studying the different sections of the magazine and reading issues like an editor, you’ll be better equipped to tailor your submission to meet The New Yorker’s editorial needs.

Crafting Your Best New Yorker-Worthy Submissions

Submitting your work to The New Yorker can be a daunting task, but with the right approach and a little bit of luck, you too can see your writing published in this prestigious magazine. Here are some tips and insights to help you craft your best New Yorker-worthy submissions:

Matching your writing style to The New Yorker’s voice

One of the most important aspects of getting published in The New Yorker is understanding and matching their distinctive voice and style. The magazine is known for its sophisticated and witty writing, so it’s essential to familiarize yourself with their articles and essays.

Pay attention to the tone, language, and overall vibe of the pieces they publish. This will give you a better understanding of what they are looking for in submissions.

Additionally, don’t be afraid to inject your own personality and unique perspective into your writing. The New Yorker appreciates fresh and original voices, so find a way to stand out while still staying true to their style.

Experiment with different writing techniques and incorporate elements of humor or satire if it aligns with your work.

Creating multiple targeted drafts

When submitting to The New Yorker, it’s crucial to tailor your drafts specifically for the magazine. Avoid sending the same piece to multiple publications without making any modifications. Instead, create different versions of your work, each targeted towards a specific theme or section of the magazine.

Research the different sections of The New Yorker and identify the ones that best align with your writing. Whether it’s fiction, poetry, essays, or cultural commentary, each section has its own unique requirements.

Take the time to understand what they are looking for in each category and adapt your writing accordingly.

Remember, quality is key. Take the time to polish your drafts and make sure they are the best representation of your work. Proofread for grammar and spelling errors, and consider seeking feedback from writing groups or trusted friends.

The more effort you put into crafting targeted and well-written submissions, the better your chances of catching the attention of The New Yorker’s editors.

For more information and inspiration, you can visit The New Yorker’s official website at www.newyorker.com . Their website provides valuable resources, including writing guidelines and examples of previously published work, which can further guide you in crafting your best New Yorker-worthy submissions.

Submitting Your Work and Handling Rejections

Submitting your work to The New Yorker or any other prestigious publication can be an exciting but nerve-wracking experience. However, with the right approach and mindset, you can increase your chances of success.

Here are some valuable tips and insights to help you navigate the submission process and handle rejections with grace.

Following submission guidelines closely

One of the most important aspects of submitting your work to The New Yorker is to follow their submission guidelines closely. The guidelines are there for a reason, and not adhering to them could result in your work being rejected without even being considered.

Take the time to carefully read and understand the guidelines, and make sure your submission meets all the specified requirements. This includes formatting, word count, and any other specific instructions given by the publication.

Furthermore, it’s worth noting that The New Yorker is known for having a unique style and voice. Familiarize yourself with the publication by reading previous issues and understanding their editorial preferences.

This will help you tailor your submission to align with their aesthetic and increase your chances of acceptance.

Persisting through inevitable rejections

Receiving a rejection letter can be disheartening, but it’s important not to let it discourage you from continuing to submit your work. Even the most successful writers have faced numerous rejections throughout their careers.

Remember, rejection is not a reflection of your talent or worth as a writer; it’s simply a part of the publishing process.

Instead of dwelling on rejections, use them as an opportunity to learn and improve. Take the feedback provided, if any, and consider it constructively. Reflect on your work, make revisions if necessary, and keep submitting. The more you persist, the higher your chances of eventually getting published.

It’s all about perseverance and resilience.

Additionally, it can be helpful to join writing communities or seek support from fellow writers who have experienced rejection themselves. Sharing your experiences and discussing strategies can provide valuable insights and encouragement.

Remember, every successful writer has faced rejection at some point in their journey. It’s how you handle those rejections and continue to refine your craft that will ultimately lead to success. So, don’t give up, keep submitting, and one day you may see your work in the pages of The New Yorker or any other publication you aspire to be a part of.

Working Successfully with New Yorker Editors

Expecting rigorous editing of accepted pieces.

One of the key aspects of working with New Yorker editors is understanding and embracing the rigorous editing process that your accepted piece will go through. The New Yorker has a longstanding reputation for its high editorial standards, and they take great care in refining and polishing every piece of work that gets published.

This means that as a writer, you should be prepared for multiple rounds of revisions and feedback from the editors. Don’t be discouraged or take it personally if your piece undergoes significant changes during the editing process .

It’s all part of the collaborative effort to ensure that the final product meets the publication’s standards.

Collaborating professionally during the refinement process

When working with New Yorker editors, it’s crucial to maintain a professional and collaborative attitude throughout the refinement process. Listen to and consider their feedback carefully , as they have a wealth of experience and insight into what works best for their publication.

Be open to suggestions and be willing to make revisions that align with the overall vision of the piece. Remember, the goal is to create the best possible version of your work that resonates with The New Yorker’s audience.

During the collaboration, it’s important to communicate effectively and promptly . Respond to emails or requests for revisions in a timely manner, and make sure to ask for clarification if there’s something you don’t understand.

Be respectful of the editors’ time and workload and show your appreciation for their expertise and guidance.

While working with New Yorker editors can be an intense and demanding process, it is also an incredibly rewarding one. The collaboration and refinement of your work with experienced professionals can help elevate your writing to new heights and increase your chances of getting published in one of the most prestigious literary magazines in the world.

Maximizing the Benefits of Being a New Yorker Contributor

Getting published in The New Yorker is a dream come true for many writers. It not only gives you the satisfaction of seeing your work in one of the most prestigious literary magazines in the world, but it also opens up a world of opportunities for your writing career.

Here are some tips and insights on how to maximize the benefits of being a New Yorker contributor.

Adding a New Yorker credit to your writing portfolio

Having a New Yorker credit in your writing portfolio is like having a golden stamp of approval. It instantly elevates your credibility as a writer and catches the attention of literary agents, publishers, and other industry professionals.

When showcasing your New Yorker publication, be sure to highlight it prominently in your portfolio, whether it’s a physical or online version.

Include a brief description of the piece you had published, and if possible, provide a direct link to the article or a PDF version. This allows potential clients or employers to read your work easily and see the quality of your writing firsthand.

Remember to update your portfolio regularly with any new New Yorker publications to keep it fresh and relevant.

Leveraging the prestige of New Yorker publication

The prestige of being a New Yorker contributor goes beyond just having a credit in your portfolio. It can open doors to various writing opportunities and collaborations. Use your New Yorker publication as a springboard to pitch ideas or submit your work to other prestigious publications, literary magazines, or even book publishers.

When reaching out to other publications, mention your New Yorker credit in your pitch or query letter to grab the editor’s attention. Highlight how your writing has been recognized by one of the most respected publications in the industry and emphasize the unique perspective or style that got you published in The New Yorker.

This can increase your chances of being accepted by other publications and boost your overall writing career.

Furthermore, being a New Yorker contributor can also attract speaking engagements, panel discussions, or even teaching opportunities. Organizations and institutions often seek out writers with a strong publication record, especially if they have been published in prestigious outlets like The New Yorker.

Leverage your New Yorker credit to showcase your expertise and secure these types of opportunities.

As a writer, seeing your name printed in The New Yorker is an incredible feeling hard to replicate. While getting published there requires immense skill as a writer, persistence through rejection, and professionalism when working with demanding editors, it is an accomplishment well worth striving for over a writing career. Use the tips and learnings from my journey outlined here to tilt the odds of a New Yorker acceptance in your favor, no matter how long it takes. The destination is worth the journey many times over when you can finally call yourself a New Yorker contributor.

Hi there, I'm Jessica, the solo traveler behind the travel blog Eye & Pen. I launched my site in 2020 to share over a decade of adventurous stories and vivid photography from my expeditions across 30+ countries. When I'm not wandering, you can find me freelance writing from my home base in Denver, hiking Colorado's peaks with my rescue pup Belle, or enjoying local craft beers with friends.

I specialize in budget tips, unique lodging spotlights, road trip routes, travel hacking guides, and female solo travel for publications like Travel+Leisure and Matador Network. Through my photography and writing, I hope to immerse readers in new cultures and compelling destinations not found in most guidebooks. I'd love for you to join me on my lifelong journey of visual storytelling!

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