Year-in-Review: 2022 Magazine Summary

The magazine field is showing fatigue. While we still have new publications appearing every year, in 2022 we saw a higher number of venues going on hiatus, shifting away from print, lowering frequency, or dropping out entirely. On top of an army of rising costs, inflation, paper shortages, and more, editors faced the stressors of an­other year not-quite-post-pandemic and the exhaustion of constant overwork. And then the blow of the Amazon announcement that it is dropping magazine subscriptions, plus the apparent deterioration of Twitter. De­spite that we have a couple of new venues to be excited about, and many that continue to provide a wealth of fiction.

The Hugo Award category designation comes from either the publisher, <semipro­>, or our best determination. Any of the editors or publishers named would gen­erally also be eligible for Best Editor, Short Form, and the non-fiction magazines for Best Related Work.

Here the genre magazines are primar­ily sorted by Hugo Eligibility: Professional, Semiprozine, etc., and then loosely by pay rate, SFWA qualifying market, and the amount of fiction published. We covered 81 magazines, 22 audio sites, and 11 critical magazines.

In our charts we use the Statement of Ownership, required for use of a USPS Pe­riodical Permit, plus numbers as provided, to get subscriber and newsstand sales for those who generate them, though this be­comes less meaningful with digital numbers on the rise. Print-plus-digital circulation fig­ures for Analog, Asimov’s, and Locus com­prise the subscription numbers, keeping sell-through number just for print (since there are no digital returns). There is no digi­tal circulation information from F&SF.


Analog, <>, had 8,436 average print subscriptions per month and 8,400 digital, for a total of 16,836, down from last year’s 18,134. Newsstand sales were 3,352, up from 2,753. Paid circulation was down 3.3%; sell-through was 58%, well up from last year’s 49%.

Analog produced six tall, digest-size dou­ble issues with 208 pages each. Cover price for the first three issues was $7.99, switch­ing to $8.99 with the July/August issue. There were six novellas, 22 novelettes, and 74 short stories, for a total of 102 pieces of fiction, up from last year’s 88, plus six ‘‘Sci­ence Fact’’ pieces, 13 pieces of flash fiction, 12 poems, and other non-fiction. Covers were heavy on the shiny space hardware this year, with two exceptions: a depiction of a man seated on a giant cow skull, and a tattered skeletal figure on an alien planet. Editor Trevor Quachri said, ‘‘The first Ana­log Award for Emerging Black Voices went off swimmingly, and we’re looking forward to working with the next batch of up and coming writers in the new year. Once again, we had a good balance of fresh au­ thors and established names, covering a wide array of subjects and ideas. (Although I didn’t use them, I saw a noticeable surge in cannibalism stories in the last couple of months, which probably says something mildly concerning about where everyone’s head is these days.’’ Analog paid 8-10 cents per word for short fiction, and 6 cents per word for serials. [Professional]

Asimov’s, <>, had 5,685 print subscriptions and 9,300 digi­tal subscriptions for a total of 14,985, a bit down from 16,310 last year. Newsstand sales were 2,722, up from 2,373, with a nice 49% sell-through, up from last year’s 44%. Total paid circulation was down 5.2%.

Asimov’s produced six tall, digest-size double issues with 208 pages each. There were 4 novellas, 29 novelettes, 39 short sto­ries, and a novel in two parts, for 73 pieces of fiction, up from 69 last year, plus 34 po­ems and some non-fiction. Cover price for the first three issues was $7.99, switching to $8.99 with the July/August issue. Nice quality covers included a mysterious green alien face, a shadowy futuristic street scene, and a floating astronaut zapped by lightning (much to the surprise of a nearby duck). Editor Sheila Williams said, ‘‘2022 was another bountiful year of won­derful stories. We had great tales from au­thors new to Asimov’s like Oghenechovwe Donald Ekpeki, Jendayi Brooks-Flemister, Andrea Kriz, Vikram Ramakrishnan, Ra­jan Khanna, Megha Spinel, and Ursula Whitcher. We also had terrific material by returning favorites like Ray Nayler, Kristine Kathryn Rusch, Alaistair Reynolds, Susan Palwick, Paul McAuley, Greg Egan, Eileen Gunn, Eleanor Arnason, Michael Swan­wick, Suzanne Palmer, Rick Wilber, Nick Wolven, Will McIntosh, Octavia Cade, Jack McDevitt, and too many others to name!’’ Asimov’s paid 8-10 cents per word for short stories up to 7,500 words, and 8 cents over 7,500. [Professional]

F&SF, <>, showed print subscription numbers of 4,945 in its State­ment of Ownership, down a little from 5,112 the prior year, with 962 copies sold on newsstands, up from 956 last year, and sell-through of 31%. Paid circulation was down 2.7%, an improvement from last year’s 4.9% drop. As always, without digital figures available it’s difficult to say how well the magazine did overall.

F&SF produced six digest-size double issues, each 258 pages: two novellas, 21 novelettes, and 56 short stories, for 79 pieces of fiction, up from 72 last year, plus 17 poems and some non-fiction. Cover price was $10.99, up from $9.99 last year. Cover art was of good quality, including a broken life-size marionette, figures navi­gating a teetering rope bridge connecting two skyscrapers, and an ancient winged staff with a skull and snakes breathing aqua flame. The publisher was Gordon Van Gelder, and the editor was Sheree Renée Thomas. F&SF stories in the news includ­ed ‘‘(emet)’’ by Lauren Ring (2022 World Fantasy Award winner) and Nalo Hopkin­son’s ‘‘Broad Dutty Wata: A Sunken Story’’ (Theodore Sturgeon Memorial Award win­ner). Thomas said, ‘‘2022 was a year of re­silience, of remembrance, and exciting dis­coveries. We added a new poetry review column, ‘‘Chapter and Verse’’ by Alex Jen­nings along with new ‘‘By the Numbers’’ in­dustry columns by Arley Sorg that stimulat­ed some good water cooler conversations. Our veteran non-fiction columnists such as Charles de Lint, Jerry Oltion, Michelle West, Karin Lowachee, Elizabeth Hand, Rich Horton, David J. Skal, James Sallis, Paul Di Filippo, and Chet Weise widened our world with erudite discussions from the mythic weird, literary alchemy, Sun Ra, American Horror Story, David Bowie, and staying alive in space. We were honored to publish new works by beloved writers Al­bert Cowdrey and Eugie Foster, along with new works by Phoenix Alexander, Nick DiChario, Meg Elison, James Enge, Sam J. Miller, Charles Oberndorf, Tobi Ogundi­ran, Christopher Mark Rose, John Shirley, Norman Spinrad, Bogi Takács, and John Wiswell…. Writers to watch include Fawouz Al-Matrouk, Alexandra Flores, Charlie Hughes, Jennifer C. Hsyu, Ai Jiang, Inno­cent Ilo, Paul Lorello, Sarah Macklin, Ra­jeev Prasad, Taemumu Richardson, and Aigner Loren Wilson.’’ Pay rate was 8-12 cents a word. [Professional]

Locus, <>, we list here since we are professional and have State­ment of Ownership numbers in the charts, although the only active Hugo Award cat­egory we qualify for is Related Work, as a non-fiction magazine.

Paid circulation was down 5.8% in 2022, in part due to continued hardship for book­stores during the pandemic. Sell-through was 38%, down from 50% last year. Sub­scription numbers were down a bit to 2,988, from 3,120 last year, however we anticipate an increase next year due to a successful winter Indiegogo campaign. As a 501(c)3 non-profit, Locus relies heavily on donor support.

The print cover price remained $8.99 and digital remained $5.99, plus a newer monthly auto-renew option for $4.99 per is­sue, with print prices increasing increase in January 2023 (less for subscribers). Twelve monthly issues in print and electronic for­mats included reviews, news, convention coverage, book listings, international re­ports, special features, interviews with new and established authors, and regular com­mentary from Cory Doctorow.

We ran 610 reviews of SF, fantasy, horror, and YA fiction, up from 553 last year, includ­ing 325 short-fiction venues, plus six re­views of notable audiobooks, down from 20. There were 16 print Spotlight features cov­ering authors Craig Laurance Gidney, Khan Wong, N.E. Davenport, and adrienne maree brown; reviewer Rich Horton; artists Nilah Magruder, Marcela Bolívar, Terry Lee, Odera Igbokwe, Alyssa Winans, Geneva Bowers; and institutions including writing workshop Aspen Words, the Analog Award for Emerg­ing Black Voices, the Science Fiction Out­reach Project, the Korshak Collection, and the Portolan Project.

Locus covered DisCon III and Chicon 8 Worldcons, the SFWA Nebula Conference, the Locus Awards, World Fantasy, the In­ternational Conference on the Fantastic in the Arts, WisCon, BayCon, Writers and Il­lustrators of the Future, Norwescon, Stoker­Con, and the Williamson Lectureship, plus international cons Can*Con, ICon, and two Swecons, and two international reports on different aspects of SF in Ukraine.

Liza Groen Trombi was editor-in-chief; Kirsten Gong-Wong was managing editor. Our website saw increased traffic this year with an average of 3.28 million non-bot ses­sions per month, up from 3.04 million. [Pro­fessional/Related Work] published 31 original stories – 18 short and 13 novelettes, including the LeVar Burton Reads contest winners co-present­ed with FIYAH magazine – plus two reprints and a translation, online only, as well as art­work, commentary, non-fiction, and more. Publisher was Irene Gallo. Assistant editor Emily Goldman said, ‘‘Other amazing stories from this year include ‘D.I.Y.’ by John Wiswell, ‘Choke’ by Suyi Davies Okungbowa, and ‘How the Crown Prince of Jupiter Undid the Universe, or, The Full Fruit of Love’s Full Folly’ by PH Lee.’’ It is one of the highest-regarded and best paying fiction markets at $.25 a word for the first 5K words, with three to four million page views a month. [Profes­sional]

Lightspeed, <>, Nightmare, and Fantasy are pub­lished by Adamant Press. Lightspeed is ed­ited by publisher John Joseph Adams, and produced 12 issues, online and electronic, with 38 short stories, 24 flash pieces, nine novelettes, one novella, and an additional 24 reprints – half science fiction and half fan­tasy – plus interviews, podcasts, and more. Issues were free online, $3.99 for electronic, and $2.99 for subscribers. Pay was $.08/word. [Professional]

Nightmare, <>, edited by Wendy N. Wagner, pub­lished 12 monthly issues, online and elec­tronic, with 34 horror and dark fantasy sto­ries (24 original shorts, 10 original flash) plus eleven poems and non-fiction. Issues were free online, $3.99 for electronic, and $2.99 for subscribers. Pay was $.08/word. [Profes­sional]

Fantasy, <>, co-edited by Christie Yant & Arley Sorg, published 12 monthly issues, online and electronic, with two original short sto­ries, two original flash pieces, and two origi­nal poems in each issue, plus non-fiction. Essay ‘‘We Are The Mountain’’ by Vida Cruz won an Ignyte Award, short story ‘‘The Fail­ing Name’’ by Eugen Bacon & Seb Doubin­sky was a World Fantasy Award finalist, and co-editors Yant & Sorg were nominated for a World Fantasy Award for the second year in a row, as well as being finalists for a Locus Award for Best Editor. Issues were free on­line, $3.99 for electronic, and $2.99 for sub­scribers. Pay was $.08/word. [Professional]

Clarkesworld, <>, published 12 online, electronic, and print issues, with 86 pieces of original fic­tion – all with podcast editions – and assorted non-fiction. Covers were high-quality, original art. Publisher was Neil Clarke. ‘‘2022 was a year with some big ups and downs. Su­zanne Palmer’s novelette ‘Bots of the Lost Arc’ won a Hugo, as did Neil for Best Editor Short Form. Samantha Murray won an Au­realis Award for ‘‘Preserved in Amber.’’ We’re also very proud of the fact that we published nine first-time authors in 2022. We had to discontinue our Android and Apple apps af­ter our vendor was purchased and stopped paying us. Then, towards the end of the year, we received word that Amazon would be discontinuing their digital subscription program, which is a significant source of revenue for the magazine, in September 2023. Migrating those subscribers to new platforms will be a big project in 2023. We are also opening a Spanish language sub­missions window in January. This is a pilot project to develop a submissions process for editors interested in working with trans­lations from languages they don’t speak themselves.’’ Print cover price remained $7.99; electronic issues were $3.99 with subscription. Clarkesworld pays $.12/word. [Professional]

There were 12 issues of Forever, <>, Clarke’s ‘‘reprint only’’ project, each featuring three pieces of short science fiction, including short stories, no­vellas, and novelettes. The magazine was available in digital formats for $2.99 per is­sue or by subscription. [Professional]

Apex, <>, pro­duced six digital issues with 39 original sto­ries and 11 reprints, and assorted non-fic­tion. Jason Sizemore & Lesley Conner were co-editors-in-chief: ‘‘Lesley Conner stepped up to share the Editor-in-Chief role with Ja­son Sizemore. Apex Magazine won the Brit­ish Fantasy Award for Best Magazine, which was absolutely stunning. Jason and Lesley plan to publish six regular issues and one special issue in 2023. The special issue is scheduled to be released in April 2023, and is an Asian and Pacific Islander centered is­sue guest edited by Iori Kusano.’’ There were 13,000 unique visitors/month with 36,000 hits/month and 1,500 subscribers, well up from 800 last year; free online and in ebook for $4.99. Pay rate was $.08/word for original fiction, $.01/word for reprints. [Professional]

The Dark Magazine, <www.thedark­>, published 48 original ‘‘dark and strange’’ stories in 12 issues, online and electronic, edited by Sean Wallace. Wallace said, ‘‘In July, we brought onboard Clara Madrigano as co-editor, and she is working to bring translations into the magazine as much as possible…. Some of the more popu­lar stories included ‘Fisheyes’ by Ai Jiang, ‘Master of Ceremonies’ by Frances Ogam­ba, ‘Douen’ by Suzan Palumbo, ‘Tooth Teeth Tongue’ by Ai Jiang, and ‘The Little God of the Staircase’ by Meg Elison.’’ Issues were free online, $2.99 for ebook, $1.99 for sub­scribers. There were about 15,000 uniques monthly (way up from 5k) and 886 paid sub­scribers. Pay was $.06/word. [Professional]

Galaxy’s Edge, <>, edited by Lezli Robyn and published by Shahid Mahmud, produced six print is­sues between 95-113 pages, 19 x 24.5 cm, perfect bound, with b&w interiors on book print and color matte covers from winged warriors to robots, with 50 works of short fiction, including 31 originals, 16 standard re­prints, and 3 reprint serials, plus non-fiction. Mahmud said, ‘‘We are changing the format of Galaxy’s Edge from a bi-monthly maga­zine to a semi-annual anthology starting with issue 62 (May), so the magazine format will end then.’’ According to Robyn, ‘‘Not only will we continue to bring you the fiction our readers have grown to love so much, but this new format will make it easier to get into brick-and-mortar bookstores through a full-service distributor. It will also allow us to raise the rates we pay our authors.’’ There were 7,500 average unique monthly website visitors, same as last year, and 600 sub­scriptions (digital and paper, including trial subs). Fiction was free online, print cover price was $7.99, ebook $4.99. Pay rate was $.07/word for new fiction. [Professional]

There were six perfect-bound, 17.5 x 25.5 cm issues of Pulphouse, <>, with glossy color covers and b&w interiors, with 116 short stories of which 47 were reprints. Editor was Dean Wesley Smith, with executive editor Kristine Kath­ryn Rusch. Publisher Allyson Longueira of WMG Publishing said, ‘‘We have shifted our focus from Fiction River to our Pulphouse and Smith’s Monthly lines.’’ Cover price was $12.99/print, $6.99/ebook. Pay rate was $.06/word for original fiction, $100 flat fee for first-run reprints. [Professional]

Fiction River, <>, an ‘‘original anthology magazine,’’ pro­duced one tall, digest-size regular print is­sue at 250 pages on the theme of ‘‘Broken Dreams’’, perfect bound with glossy color cover and b&w interior, with 11 pieces of fiction, all original. Editor was Kristine Kath­ryn Rusch, and series editors were Rusch & Dean Wesley Smith. Publisher was Allyson Longueira of WMG Publishing. Cover price was $15.99, $6.99 for ebook. Pay rate was $.06/word. [Professional]

Terraform, <­form>, published 12 pieces of fiction for 2022, nested deep within the Vice site. [Profes­sional]


Our semiprozine fiction venues are loosely organized by pay rate and quantity of stories printed. SFWA qualifying status is now $.08/word, so about the first half of the semipro­zines qualify.

Sunday Morning Transport, <sunday­>, edited by Julian Yap & Fran Wilde, published 48 original stories and 2 reprints online and in weekly newsletter format via Substack. Wilde said, ‘‘In this, our first year, we’ve published leg­ends in science fiction, fantasy, and horror, as well as new faces in the field… from hard SF and fantasy, to slipstream and beyond.’’ Pay was $.25/word. Website hits averaged 55,000, with over 1,500 newsletter sub­scribers, including 250 paid subscriptions. [Semiprozine]

Uncanny, <>, published six issues, online and electronic, with 44 original stories – including one no­vella and four novelettes – and five reprints, as well as essays, poems, interviews, and podcasts. Lynne M. Thomas & Michael Da­mian Thomas were co-editors-in-chief. In 2023 Monte Lin is taking over as Managing Editor and Tania Chen as Assistant Editor. The mag was a 2022 Hugo Award finalist for Best Semiprozine; ‘‘Where Oaken Hearts Do Gather’’ by Sarah Pinsker won Nebula, Locus, Hugo, and Eugie Foster Awards; ‘‘That Story Isn’t the Story’’ by John Wiswell won the Best Novelette Locus Award; ‘‘If the Martians Have Magic’’ by P. Djèlí Clark won the Best Short Story Ignyte Award; ‘‘Con­fessions of a Spaceport AI’’ by Mary Soon Lee won the Best Short Poem Rhysling; and ‘‘POST MASSACRE PSYCHE EVALUATION’’ by Abu Bakr Sadiq won the Best in Specu­lative Poetry Ignyte. Editors-in-chief Lynne M. Thomas and Michael Damian Thomas were finalists for World Fantasy and Locus Awards. ‘‘The stories with the best respons­es were ones with gorgeous prose and won­derful characters that elicited strong emo­tions from the readers. We always want to see more own-voices stories.’’ Issues were free online, $3.99 for electronic, and $1.99 for subscribers. Uncanny had 2,700 subscribers and averaged 53,000 uniques. Pay was $.10/word for fiction. [Semiprozine]

Strange Horizons, <>, published 52 weekly online issues plus a special fund-drive issue, with 39 orig­inal stories, 2 reprints, plus poetry, reviews, and articles. Coordinating editor Gautam Bhatia said, ‘‘I think that with the various well-known developments at Twitter, mag­azines that rely on social media for a non-trivial part of their funding are all looking for other options. We’re also thinking of how to diversify the platforms we’re on. As always, we want strong, unusual voices from mar­ginalised points of view, stories that engage with political issues in nuanced ways, and stories with complex characterisation and emotion. This year we felt particularly drawn to eco-fiction, relationship stories and sto­ries set in secondary worlds.’’ Bhatia report­ed 825,112 hits and 455,704 visitors (37,975/month) in 2022. Pay rate was $.10/word for fiction. [Semiprozine]

Strange Horizons’s sister magazine Samovar, ‘‘a quarterly magazine of and about translated speculative fiction,’’ edited by Sarah Dodd, Laura Friis & Greg West, produced three online issues with five origi­nal stories and their accompanying transla­tions, one reprint, and poetry. ‘‘We hope to continue publishing a wide range of lan­guages over the coming year, and we’re also looking for stories and poems for a special Taiwan focus over the next few issues.’’ Pay rate was $.08/word up to $300.

Beneath Ceaseless Skies, <>, a biweekly ‘‘literary adventure fantasy’’ magazine published and edited by Scott H. Andrews, produced 26 online issues containing 42 short stories, 19 novelettes, and one novella for a total 62 pieces of original fiction, plus 20 original podcast episodes, including their 14th-an­niversary double-issue. Andrews said, ‘‘Ac­colades included a tenth Hugo Award final­ist for Best Semiprozine, ‘A Flower Cannot Love the Hand’ by Aimee Ogden named as a finalist for the Eugie Foster Award, and ‘A Stranger Goes Ashore’ by Adam R. Shannon named as a finalist for the WSFA Small Press Award. Funding remained a challenge. Only 0.7% of the readership supports the zine financially. Supporters of the BCS Patreon enabled the magazine to maintain its 2019 increase in fiction pay rate and to hire a fifth first reader.’’ The website averaged 64,000 uniques per month; podcasts averaged 8,600 downloads per episode. Pay rate was $.08/word. (BCS recused itself from further Best Semiprozine nominations.)

Fiyah, <>, the ‘‘Magazine of Black Speculative Fiction,’’ published 19 original stories plus poems in four scheduled electronic issues, as well as hosting the Ignyte Awards. Fiyah was a 2022 Best Semiprozine Hugo Award finalist. Executive editor DaVaun Sanders said, ‘‘We had the opportunity to take on more ‘Revise and Resubmits’ this past year, and I hope to see that trend continue. We receive so many stories that just need a bit of a nudge to push them over the top, and even if they don’t find a home with us after that process, I try to do what I can to be a resource. For 2023 our fall Belonging issue will mark a first for the magazine with a print run avail­able.’’ Pay was $.08/word for fiction, with 1,115 subscribers and 3,091 unique visitors per month. [Semiprozine]

The Deadlands, <>, ‘‘an adventure into the unknown, to meet those who live there still, even though they may be dead,’’ published 29 original stories, one reprint, plus poetry and non-fiction in 12 online issues. Editor-in-chief E. Catherine Tobler said, ‘‘Our top read stories of the year were: ‘The Long Way Up,’ by Alix E. Harrow, ‘Give This Letter to the Crows,’ by Iona Datt Sharma, ‘The Projectionists,’ by E.M. Lin­den, and ‘The Morthouse,’ by Maria Haskins. We’re also delighted by reader reaction to ‘A Dervish Among the Graves of Ghazni,’ by Tanvir Ahmed.’’ 3,600 average unique visi­tors per month with 1,800 subscribers. Pay was $.10/word for fiction, $50/poem, $100/non-fiction. [Semiprozine]

Diabolical Plots, <>, edited by David Steffen, published 28 original stories in 12 monthly online issues, plus 45 reprints in two anthologies. Steffen said, ‘‘We had our first themed issue with our first guest editor – Kel Coleman edit­ing the Diabolical Plots food-themed issue, which was very well received. We had our second Hugo Award nominated story, prov­ing the first wasn’t a fluke. And Submission Grinder was nominated for and won its first award in the Community category of the Ignyte Awards, which I never would have anticipated. I continue to be very happy with the weirdness of the stories we help share with the world….’’ Pay was $.10/word, $.01/word for reprint fiction + royalty share for the anthology. Uniques/month aver­aged about 9,200, with average 20,300 pa­geviews/month. [Semiprozine]

Lady Churchill’s Rosebud Wristlet, <>, produced two saddle-stitched, oversize chapbooks, with b&w covers and interiors, 60-61 pages, with 16 pieces of original short fiction, seven po­ems, and some non-fiction. Print and ebook subscriptions remained steady at 320 and 67 respectively. Co-editors were Gavin J. Grant & Kelly Link. Grant said, ‘‘We slowed everything down at Small Beer, including LCRW, due to my Long Covid…. The big­gest conversation about reading in and out of genre seemed to me to be about mak­ing work available for free versus paid. I like the Uncanny/Lightspeed model where payment is required for first access and the work is published online soon after. How­ever, even there very few readers are paying so there is much unpaid labor – making the work of publishing accessible only to those who are able to donate their time and/or en­ergy.’’ Cover price was $6.00, $3.99/ebook, up from $3.00. Pay rate was $.03/word, $25 minimum, and $10/poem. [Semiprozine]

Fireside was available as an ebook for sub­scribers in three monthly and two seasonal editions, with that month’s stories published free online after at <>, with 32 short stories and six poems, all orig­inal. This was Fireside’s final year of publi­cation. The decision to close the magazine was made the prior year, with the remain­ing issues discharging existing contractual obligations. L.D. Lewis was publisher and Chelle Parker was managing editor. Brian J. White was executive editor and owner; guest editors were Aigner Loren Wilson, Hal Y. Zhang, and L.M. Davis. Unique visitors av­eraged around 8,800 per month, with about 32,000 hits/month and 400 ebook subscrib­ers. Pay rate was 12.5 cents per word. [Semi­prozine]

Interzone and Black Static, <www.tta­>, are two long-standing genre UK print and electronic publications. Vet­eran editor Andy Cox has been running Interzone for 18 years and 100 issues. As of Issue #294 in 2023, Gareth Jelley will be taking over as Interzone editor. Interzone will be published by MYY Press in Wrocław, <in­>. Jelley says, ‘‘There will be a brief hiatus before the next issue and then a new 96-page issue every two months.’’ In 2022, we saw one final print double issue of Interzone from TTA Press, 17 x 24 cm, perfect bound, with 192 pages and a glossy color cover of a futuristic scientist; interiors were color on uncoated stock, with seven short stories and four novelettes for 11 pieces of fiction, up from nine, plus assorted non-fiction. Cover price was £11.99/print, £7.00/ebook. MYY pay rates will be €.015/word. [Semiprozine]

There were no issues of Black Static this year though a new issue is listed on preor­der at <>, and TTA Press has requested individual issue preorders to support the magazine. [Semiprozine]

Daily Science Fiction, <>, copublished and co-edited by Mi­chele-Lee Barasso & Jonathan Laden, pub­lished approximately 250 stories online and by email delivery. ‘‘2022 was another good year at Daily Science Fiction. DSF has gone on hiatus. There are no plans to publish sto­ries in 2023. The world should have more flash fiction. Even without DSF, flash fiction should continue to thrive in the SF world.’’ Pay was $.08/word up to 1,500 words. DSF reported 13,000 email subscribers. [Semi­prozine]

Abyss & Apex, <>, published 27 original stories, plus book reviews, editorials, and poems in four quarterly issues, plus a ‘‘Best of’’ anthology and, separately, a holiday story. Editor and publisher Wendy S. Delmater said, ‘‘We’re discovering that our readers want more fantasy so we’ll promote our fantasy offers more but we’re full-up on stories through 2024 so it’ll be a change of emphasis, not disturbing our attempted 50/50 mix of SF & F.’’ Average unique visitors per month was nearly 13,000. Pay was $.08/word to 1,000 words, with a max of $80. [Semiprozine]

Augur, <>, an online lit-spec-fic magazine, published 22 original stories and 24 original poems and more in two issues. Terese Mason Pierre was co-editor-in-chief, with co-editor Lawrence Stewen step­ping down and Avi Silver taking the role in June. Mason Pierre said, ‘‘This year, we released our Joyful Imaginations Issue (5.1) and planned the second iteration of AugurCon to great success.’’ Pay was C$0.11/word for short fic­tion, C$110 flat for flash fiction up to 1,000 words, C$60 for poetry. They have 440 sub­scribers, with approximately 3.5k views per month. [Semiprozine]

There were six regular and one special Hal­loween issue of Dark Matter, <darkmatter­>, offering a blend of science fiction and horror stories ‘‘that explore the shadow side of reality’’ and hosting 42 origi­nal stories and seven reprints, assorted non-fiction, and extensive illustrations, available in print, electronically, and in audiobook. Print issues were 15 x 23 cm with matte color covers and color interiors on uncoated stock, 124-178 pages, featuring vibrantly­colored pop art from a snarling gnome to a cybernetic demon skull. Editor-in-chief Rob Carroll said, ‘‘We more than doubled our sales and membership year-over-year in 2022 and we hope to continue to grow our readership in 2023. I hope to see more sto­ries that combine the big ideas of sci-fi with the visceral experiences of horror.’’ $15.00/print, $4.99/ebook. Pay was $0.08/word for original fiction, $0.02 reprint. [Semiprozine]

Mysterion, <>, edited and published by Donald S. Crank­shaw & Kristin Janz, published 11 original and three reprint stories in blog format. ‘‘We publish speculative fiction about Christian characters, communities and beliefs (past, present and future), and would love to see more stories about Christians in and from Africa, Asia, and Latin America – espe­cially by authors from those regions.’’ Pay was $.08/word for originals, $.04/word for reprints, with about 650 average unique visitors per month and 2,100 hits per month. [Semiprozine]

Bourbon Penn produced three perfect-bound issues, 12.75 x 20 cm, 135-172 pages, with color, glossy covers and b&w interi­ors, with 20 original stories, also available in ebook and for free at <www.bourbon­>. Covers were excellent quality, ranging from a pink-furred face examining a strange fish leaping out of a teacup to a sepia portrait of a bearded alien in Victorian garb. Editor Erik Secker said, ‘‘We increased our pay rate to 3¢ a word to start 2022 and saw additional growth with our Patreon subscriptions that we’re hopeful will con­tinue and allow us to increase our pay rates again in 2023.’’ Print cover price was $12.95 for the first two issues and $14.95 for the third; ebook $2.99. Pay rate was $.03/word, up from $.02. [Semiprozine]

We saw two issues of Weird Tales, <>, the reboot edited by Jonathan Maberry and published by John Harlacher, 98-130 pages, with 16 pieces of short horror and weird fiction, ten pieces of poetry and flash, and some non-fiction. Is­sue #366 was themed ‘‘Sword and Sorcery’’. Harlacher said, ‘‘Our 2023 issues, which cel­ebrate our 100th anniversary of publishing, are Cosmic Horror, Occult Detective and the 100 Years of Weird megaissue.’’ Cover price was $12.99/print. Pay rate was $.10/word for fiction, $50 per poem. [Semiprozine]

There were two print issues of Dream­Forge Magazine, <>, also electronically as four quarterly issues of DreamForge Anvil <>, with 28 stories, 24 origi­nals, and four reprints, and three poems. All stories were also made available free online through a reader portal. Publisher and edi­tor Scot Noel said, ‘‘Hopepunk, solarpunk, and stories with an optimistic, empathetic viewpoint got the best response. We were able to raise our pay rate per word to $0.07/word in 2022. In 2023 our goal is to raise our pay rate per word to $0.08/word.’’ Print issue price was $14.99 through Amazon, digital subscription was $17.99/for one year access to all online & digital back issues, or Kindle at $2.99/issue. Pay rate was $.07/word for new fiction, up from $.06, and $.04/word re­print, up from $.03. [Semiprozine]

khōréō, <>, helmed by founder/editor-in-chief Aleksandra Hill and editors Kanika Agrawal and Rowan Morrison, is ‘‘a quarterly magazine of specu­lative fiction and migration.’’ They published 21 original stories in three of four planned issues. ‘‘We were honoured with a number of awards, including the IGNYTE award for Fiction Podcast, a Shirley Jackson award for one of our stories (‘You’ll Understand When You’re a Mom Someday’ by Isabel J. Kim), as well as making the Hugo longlist for best semiprozine after just our first year of exis­tence. In 2023, we’re planning to launch a Patreon and hoping to avoid running an­other crowdfunding campaign so we can, hopefully, plan on more stable income….’’ They had 470 subscribers and an average 3,200 unique visitors per month. Pay was $.10/word. [Semiprozine]

Frozen Wavelets, <>, ‘‘offspring of The Earthian Hivemind,’’ a dark fiction periodical edited by Steph P. Bianchi­ni, published 10 original stories in one issue. Pay was $.08/word for fiction, $1/line for po­etry.

We saw four issues of On Spec, <onspec­>, a Canadian print digest, 117-140 pages, perfect bound, with 34 original stories, eight poems, and assort­ed non-fiction. Semi-gloss covers ranged from a clockpunk crow to a wizard with a serpent monster. Diane L. Walton was man­aging editor and The Copper Pig Writers’ Society was publisher. Walton said, ‘‘We were pleased to see some quirky stories, and some very emotionally gripping tales from our writers in the past year. We pub­lished several writers from outside North America this year, which adds a new flavour to the magazine, while keeping our 80% Canadian mandate for content.’’ Print run per issue was 500, with a subscriber base of around 300, available in PDF, mobi, and epub from Weightless; C$6.95, less for sub­scribers. Pay rate was C$.05 and $100 per poem. [Semiprozine]

Cosmic Roots and Eldritch Shores, <>, ed­ited by Fran Eisemann, published 18 stories and poems, plus one reprint and a review. ‘‘For 2022 we’d been working on this and now have a benefit anthology for Ukraine, all stories and artwork donated, all profits to go to Ukraine, set to go to the printers for final proofing. There’ll be print – black & white and full color versions, epub, and audiobook! The best response for the year: One wacky story and one serious eldritch story echoing the current events regarding Russia’s war on Ukraine. I’d like to see more of: Hard science fiction, myth stories with a solid mythological basis, and spooky el­dritch stories.’’ 3,200 uniques/month, about 250 subscribers, and pay was $.08/word for new fiction, $.02/word for reprints. [Semi­prozine]

Shoreline of Infinity, <>, based out of Scotland, pub­lished 35 stories plus poetry in four print and electronic issues, 130-132 pages. Editor-in-chief Noel Chidwick said, ‘‘We published a wide range of new and more well-known writers from all round the world, but we are particularly proud to showcase up and com­ing Scottish writers – watch out for Callum McSorley and Lyndsey Croal, for example. Our highlight was Issue 32, the SF and Fairy Tales special, guest edited by Teika Marija Smits…. over the year we have built an en­thusiastic and talented editorial team, with Eris Young as Fiction Editor. This is so im­portant as 2022 marks the retirement of the co-founders, Noel Chidwick and Mark Ton­er, from the day-to-day running of Shore­line…. We’ve been going for eight years now, and the co-founders are very excited to see how Shoreline of Infinity develops in the new year.’’ Print run was 200, up from 150, with 90 subscribers and 120 digital sales/issue. Print price was £7.95, digital/£2.95-£3.95, with 4,000 unique website visitors monthly. Pay rate was around $.05/word. [Semipro­zine]

Future Science Fiction Digest, <>, published four issues with 21 origi­nal stories, including 16 short stories, four novelettes, and one flash piece. Editor Alex Shvartsman announced that the December issue would be the final issue, as the maga­zine is going on indefinite hiatus. Pay was $.08/word. Fiction is free online, $2.99/eb­ook. [Semiprozine]

Grimdark, <>, published 36 stories in four issues plus an anthology focusing on ‘‘the grittier nature of people in futuristic or fantasy settings.’’ Founder and editor-in-chief Adrian Collins promoted Beth Tabler to commissioning editor and Sarah Chorn to editor. ‘‘Changes in the cost of shipping blew out the costs of our Kickstarter project and a multitude of factors delayed publication, but as always, we live and we learn and hope not to make the same mistakes the next time.’’ Collins re­ported around 67,000 hits/month. Pay was A$.07/word, A$.14/word for the anthology. [Semiprozine]

We saw three issues of Cossmass Infini­ties, <>, available elec­tronically and in print, digest size with matte color covers and b&w interiors, with 31 original stories. Editor Paul Campbell said, ‘‘We have made the painful decision to stop publishing the regular issues and only pub­lish a limited number of stories to our web­site. Our plan is for 11 stories for the whole of 2023. This is likely to be our last year.’’ There were 74 ebook subscribers, includ­ing Patreon supporters, and 77 print copies sold through Amazon POD. Cover price was $9.00/print, $3.99/ebook. Pay rate was $.08/word. [Semiprozine]

Apparition Lit, <>, ‘‘strange, misshapen stories with enough emotional heft to break a heart, with prose that’s as clear and delicious as broth,’’ is an online and digital literary spec-fic magazine by owners/senior editors Rebecca Bennett, Clarke Doty, Amy Henry Robinson & Ta­coma Tomilson. They published 17 original stories in four issues, plus 12 flash pieces for monthly contests. ‘‘One of our favourite things that happened in 2022 was that we published our first non-English language and translated pieces. Working with Guest Editor Sabrina Vourvoulias allowed us to work and published Spanish-language pieces.’’ 104 subscribers; pay was $.05/word for fiction, $50/poem. [Semiprozine]

Fusion Fragment, <> produced five regular ‘‘science fic­tion or SF-tinged literary fiction’’ issues available electronically and in print as full-sized, perfect bound editions with semi-gloss color covers and color interiors on coated stock, 97-125 pages, with 35 origi­nal stories this year including four novel­ettes, plus five reprints. Editor Cavan Terrill said, ‘‘I’d been running FF as a solo proj­ect but made the decision in June to staff up a reading team. The stories that got the most glowing reviews this year tended to be ones that are a bit difficult to catego­rize, genre-wise. It was a big thrill to see Octavia Cade’s ‘‘The Women Who Didn’t Win Nobels, and How World Trees Are Not a Substitute’’ place onto the Locus Recommended Reading List and then go on to garner some votes in the Lo­cus Awards. Overall income this year so far is $905, up about 20%. 2022’s operating budget was $12,500 so breaking even isn’t even a pipe-dream at this point, but nev­ertheless, I’m happy to see things trending up this year.’’ Total digital downloads were at 593, up 30% from last year, plus Patreon subscribers and a dozen print copies sold. Pay rate was C$0.035/word up to C$300 maximum. [Semiprozine]

We saw four issues of Pulp Literature, <>, available in print and electronically, with 42 original stories, four comics/graphic shorts, nine poems, and some non-fiction. Print was digest size, perfect bound with glossy color covers and b&w interior. Managing editor Jennifer Landels said, ‘‘We’d like to continue to keep lighthearted (but not lightweight) fare front and centre for 2023. We always welcome more hard SF, and magical realism is usu­ally a good fit.’’ There were an average 120 print copies per issue, with digital and print subscription and single-issue sales adding up to around 300 per issue. Pay rates were $0.02 to $0.08/word. Price was C$14.99 print, C$4.99 electronic. [Semiprozine]

Space and Time, <>, produced two issues with 21 original short stories and more. Angela Yuriko Smith & Ryan Aussie Smith were co-publishers and Austin Gragg was editor-in-chief. Yuriko Smith said, ‘‘2022 was a great year with many successes, but that also meant it was harder to keep all the balls in the air. We survived thanks to the addition of some great new team members including An­thony R Rhodes on layout and Austin Gragg as editor-in-chief. Austin is retiring from the magazine to focus on his personal writing in 2023.’’ There were 121 print issues sold, and digital available with issue #142. Cover price was $10.00/print for both issues and $2.99 digital. Pay rate was $.01/word. [Semipro­zine]

GigaNotoSaurus, <>, edited by LaShawn M. Wanak, published 12 fantasy or SF pieces online, including two short stories, three novellas, and seven novelettes. Pay rate was $100/story. [Semi­prozine]

Baffling, <>, published 31 flash stories in four online issues, plus a print anthology of the magazine’s inaugural four issues. Published by Neon Hemlock, the magazine is co-edited by Craig L. Gid­ney & dave ring, who said, ‘‘Our biggest change moving into 2023 is that co-editor Craig L. Gidney is stepping down, while incoming co-editor Kel Coleman is step­ping in. ‘A Table Set and Waiting’ by Jordan Shiveley, ‘Four Glass Cubes (Item Descrip­tion)’ by Bogi Takács and ‘What Are We If I Stay’ by K.S. Walker got the most vis­its this year so far. Going by those three, please send us more psychosexual horror, metatextual/literary work, and dreamy mel­ancholy fantasy.’’ They averaged about 1,600 visits/month, with 1,100 uniques. Pay was $.08/word. [Semiprozine]

Monthly Flash Fiction Online, <flash­>, edited by Emma Munro, posted 12 scheduled issues with 50 total flash fiction pieces – 33 original and 17 reprints. Publisher Anna Yeatts said, ‘‘Our most popular story from 2022 was ‘Fried Rice’ by Shih-Li Kow. My personal fa­vorite is ‘The Last Man on Earth Looks for Friend: A Mini-Novel’ by John Guzlowski. It’s the third and final part of John’s mini-novel trilogy with us. We’d love to see more horror flash fiction.’’ Pay was $80 for original flash, $20 for reprints. They had ~12,000 unique visitors and ~28,000 hits per month, with ~150 subscribers and ~360 digital down­loads. [Semiprozine]

Reckoning, <>, ‘‘a non­profit, annual journal of creative writing on environmental justice,’’ published one regular issue and one special issue with 18 original stories and one reprint plus poetry and essays, available in print and electron­ic editions and free online. ‘‘Our Beautiful Reward’’ was a special issue on bodily au­tonomy edited by Catherine Rockwood on the occasion of the overturn of Roe v. Wade. Regular issue was 15 x 23 cm perfect bound with semi-gloss color cover, 258 pages. Publisher Michael J. DeLuca highlighted in­creased pay rate and going from short run to POD printing as big changes for the year. ‘‘We had our first fundraiser in 2022, which was a ton of work but successful enough, allowed us to raise the payrate and put out a special issue.’’ There were 52 ebook subscribers via Weightless and Patreon, 11 print Patreon subscribers, 54 individual eb­ook sales through Weightless, Kindle, and IngramSpark, and 111 print sales. Average unique visitors per month was 2,000, with 3,500 hits per month. Pay was $0.10/word for fiction, up from $0.08, $30/page for po­etry. Print cover price was $20.00, $7.00/eb­ook. [Semiprozine]

James Gunn’s Ad Astra, <>, ‘‘the best parts of creative magazines and scholarly journals,’’ published one issue with six stories and two poems. Editor-in-chief Jean Asselin said, ‘‘We plan to return our publication schedule to two issues per year in 2023, the next one being now read­ied for the Spring equinox…. We are still hop­ing to add print-on-demand this year, which we know many of our authors and readers would like.’’ Pay was $50/story. [Semipro­zine]

Three Crows, <>, edited by Alex Khlopenko, published four original stories plus non-fiction in one online issue. Khlopenko said, ‘‘2022 was the worst year for the magazine… this was caused by my own exhaustion, both mental and physical, due to Russia’s war of aggres­sion in Ukraine, long-term mental health problems, day-job workload, combined with changes to the editorial team and the per­sonal issues of our editors and designers (moving to other countries, having kids, etc). As usual it’s hard and expensive to manage a zine in a flat structure and on voluntary ba­sis especially in stressful and force majeure situations. For 2023 we plan to get back on track with the publishing schedule, expand on eastern European content and work closely with local Ukrainian and Polish au­thors and critics, but also cooperate closer with other magazines.’’ Pay was $.01/word and $50 for art. There were 30,000 unique visitors ‘‘with 3-4K sessions per month.’’ [Semiprozine]

New Myths, <>, published 23 short stories and ten flash pieces plus poems and non-fiction in four issues. Susan Shell Winston was editor, with editor and publisher Scott T. Barnes. Pay was 3 cents/word, minimum of $50. [Semiprozine]

Bards and Sages Quarterly, <>, published 29 short stories in four online issues. Pay was $30 for original fiction, $20 for reprints. [Semi­prozine]

Australian Aurealis, <>, published 30 original stories in ten online issues. Editor Dirk Strasser likes to see ‘‘sto­ries with a strong opening that then don’t overstay their welcome. Quirky stories get the best response, but only because quirki­ness means it is a bit original or out of left field. We’d like to see more humor in stories. And edgier stories. Stories that don’t stick to the well-worn paths.’’ Pay rate was A$.02/word. Parent company Chimaera Publica­tions also ran the Aurealis Awards. [Semi­prozine]

Australian Andromeda Spaceways, <>, published four online issues with 38 original stories plus poems. ‘‘Another busy year, but one for stabilising our cashflow a little bit.’’ Pay for short fiction was A$.01/word up to 10,000 words and A$10 for poetry. [Semiprozine]

Kaleidotrope, <>, a quarterly, published 50 original stories in four online issues plus poetry. Editor Fred Coppersmith said, ‘‘Twitter’s ongoing col­lapse has made the end of the year a little weirder than expected, and it’s raised real questions about promoting the zine in the future…. Kaleidotrope is also over on Mast­odon, and I’ve started a weekly newsletter ( to keep in touch with readers.’’ Pay was $.01/word, $5 for poetry, $60 for artwork. [Semiprozine]

Heroic Fantasy Quarterly, <www.heroic­>, published 14 original short stories plus poetry in four online is­sues. Editor Adrian Simmons said, ‘‘We will putting together another Kickstarter to fund the next best-of anthology, and we may start running a comic.’’ There were about 1,000 uniques per month and 39,000 hits. Pay was $25-$100 for fiction, $10-$25 for poems, with variation based on length. [Semiprozine]

Anathema, <>, focusing on ‘‘weird, slipstream, surrealism, fabulism, and more by queer people of co­lour on every range of the LGBTQIA spec­trum,’’ published ten original stories plus poetry in three scheduled online issues. Editor was Michael Matheson. ‘‘2022 was a rough year for the industry as a whole be­tween shifts in accessibility and distribu­tion for online magazines (Amazon limiting distribution being a major blow for many) and the slow decimation of Twitter (its use among short fiction markets for outreach and engagement cannot be overstated). We always see a range of responses, given that we don’t really focus on any one genre or type of story. And generally, we always just want to see stories with a strong emotional core and beautiful writing.’’ Pay was C$150 for fiction, C$75 for poetry, and C$300 for cover art. There were 1,000 uniques/month, subscriptions peaked at 160. [Semiprozine]

The Future Fire, <>, a quar­terly magazine of progressive, feminist, queer, eco, multicultural, and cyberpunk fiction published four issues with 23 stories (including four reprints) and poetry. Editor Djibril al-Ayad said, ‘‘We have seen more stories (and even more poems) that are not technically SF/F/H etc., but still fit into our definition of genre, speculative, slipstream or weird shit this year; perhaps because of the Noir themed anthology we published this year in paperback in addition to the magazine…. One flash story this year caught the attention of the Twitter and Reddit com­munities, and as a result was read more than every other story in our site put to­gether ( To be fair it is also a lovely story, in ad­dition to being an excellent gimmick piece!’’ Average 1,500 uniques/month, ‘‘AITA’’ being an exception with over 3,000 visitors in one day. Pay was $20 for fiction. [Semiprozine]

Metaphorosis, <>, a monthly print and digital venue for ‘‘intelligent, beautifully written stories for adults’’ published 12 issues with 49 original stories, including one serialized novella. Print issues were an unusual miniature-format 10 x 15 cm with glossy color covers and good-quality art by Carol Wellart. Editor B. Morris Allen said, ‘‘One fun thing for 2023 – there’s a casual discussion list for SFF magazine and small press editors, and we agreed to organize a periodic video AMA-type dis­cussion where people can ask 3-4 editors anything they want. We’re planning to hold them the first Saturday of each month in 2023. Updates will be posted to @metapho­rosis’ Twitter and Mastodon feeds.’’ There was an average of 2,000 visitors/month and the podcast is at 2,200 downloads/month. Stories were available free on the website or $8.00/print on Amazon, $4.00/ebook. Pay was $0.01/word. [Semiprozine]

Speculative City, <>, ‘‘embraces the motivations of speculative fiction and integrates them into a focus of setting: the city.’’ An online literary spec-fic magazine, they published four original sto­ries and two poems in one issue. Meera Velu is editor-in-chief. ‘‘Our ghost story gained a lot of traction. I wouldn’t mind more spooky stories.’’ Pay was ‘‘about 0.01/word’’ with site traffic ‘‘anywhere from 70-200 hits a week.’’ [Semiprozine]

Omenana, <>, speculative fiction ‘‘from across Africa and the African Diaspora,’’ published 38 original stories in four free online issues. Cofounder and managing editor Chiagozie Nwonwu said, ‘‘2022 was good for us in terms of meeting our publication schedule and getting some funding that enabled us meet our payment obligations. We hope something better than this happens next year.’’ Pay was ‘‘about 20 dollars per story. We saw great African Fu­turism and Science Fiction stories. We got more of them this year than other years. This shows more writers are writing in the genre. We hope to see more of this.’’ Nwonwu re­ported ~2,000 visitors/month and 2,600 subscribers.

Lackington’s, <>, pub­lished one online issue with nine original short stories, edited by Ranylt Richildis, before announcing that the magazine was closing permanently. Pay was C$.01/word, $25 minimum, and C$25-C$40 for artwork. [Semiprozine]

Underland Arcana, <www.underland­>, produced four issues avail­able electronically and in print, 12.5 x 18 cm with matte color covers and b&w interiors, 101-137 pages, with 32 original short stories of ‘‘the numinous, the esoteric, the super­natural, and the weird.’’ Editor Mark Teppo said, ‘‘We’re moving to a three-issue model in 2023, but each issue will be slightly big­ger, resulting in the same overall amount of fiction published. We’ve got new fiction from Daniel Dagris, Frances Ippolito, Matthew Cheney, Roni Stinger, and J.P. Oaks planned for next year, as well as stories from a few familiar Arcana family names.’’ There were about 1,200 unique visitors/month, single is­sue sales of around 50 per issue and around 20 Patreon subscribers. Free online, or $12.99-$13.99/print, $3.99/ebook. Pay rate was $0.01/word. [Semiprozine]

Translunar Travelers Lounge, <trans­> edited by Ai­mee Ogden & Bennett North, published 28 original stories in two online issues. Pay was $.03/word with a $20 minimum. ‘‘We re­ally enjoyed getting to publish a third story from Anya Ow in her Peranakan Wuxia se­ries, each of which has been its own unique delight. We’re also looking forward to get­ting to share Issue 8 with the world; there’s a wonderful story from Maria Hossain that feels like a moving new fairy tale, and a de­lightful art deco space fantasy from Rose Biggin that might be described as ‘The Great Gatsby meets Tom Lehrer’s Elements Song’.’’ Visitors/month fluctuates, averaging about 1,000 uniques. [Semiprozine]

Non-profit Electric Spec, <www.electric­>, published four scheduled elec­tronic issues with 22 original stories. Editors were Nikki Baird, Lesley L. Smith & Grayson Towler. Smith said, ‘‘Our longtime editor Nik­ki Baird stepped down at the end of 2022. (Thanks for all your hard work, Nikki!) And we are excited to be in the process of hir­ing a new associate editor starting in 2023.’’ Smith added, ‘‘Please send us more spec fic mashups, steampunk, and magical realism.’’ Pay was $20/story. They had ~2,000 unique visitors/month. [Semiprozine]

Little Blue Marble, <>, published and edited by Katrina Archer, published 17 original stories, three reprints, poetry and more online, plus a year-end compilation anthology also available in print. Pay was $.08/word. They had uniques of ~950/month. [Semiprozine]

Three-Lobed Burning Eye, <>, edited by Andrew S. Fuller, published 13 original stories in three online issues and a print anthology, saying, ‘‘This year we read 3800+ stories, more sci­ence fiction and dark fantasy submissions and less horror stories overall than previous years. We launched a Patreon and are near­ing our first goal of full funding at current pay rates…. Ecological themes and dysto­pias were more prevalent in recent stories, characters finding companionship in dif­ficult experiences (perhaps we like this).’’ They had 1,400 visitors/month, 250 ebook purchases/year, and 500 newsletter sub­scribers. $100/short story, $30/flash fiction. [Semiprozine]

Mithila, <>, published one special Hopepunk issue, online, with six original stories and one reprint. Editor Salik Shah said Mithila is ‘‘undergoing a power­ful transition – it’s evolving into a theme/an­ thology-focused publication, also a profes­sional-paying marketplace.’’ Pay was $.08/word. [Semiprozine]

There were two digital issues of Neo-opsis, <>, with 14 sto­ries, all original, and some non-fiction. Edi­tor was Karl Johanson. ‘‘Our YouTube site is up at 800,000 views, <>. Our TikTok site is about a year old and is at 100,000 views. <>.’’ Cover price was C$5.00. Fiction pay rate was C$.025/word, capping at $125. [Semi­prozine]

There were two issues of Alien Dimen­sions, <>, perfect bound, 15 x 23 cm, with a glossy color cover and b&w interior, including 25 original short stories. The magazine was available in eb­ook and POD. Editor Neil A. Hogan said, ‘‘I believe Alien Dimensions hit its stride with 2022. Hoping to increase the page count again in 2023, with the help of a Kickstarter campaign. I prioritise the classic/golden age, positive/utopian far future space fiction style.’’ Print cover price was $12.95, ebook $4.99, or free with subscription to Kindle Un­limited. Pay rate was $20 per story, up from $10. [Semiprozine]

There were 11 issues of Smith’s Monthly, <>, with work solely by Dean Wesley Smith, perfect-bound with glossy color covers and b&w interiors, and 110 pieces of fiction, 46 original, 64 re­print. Cover price was $12.99/print, $6.99/ebook. [Semiprozine]

There were two issues of Planet Scumm, <> with 14 original and three reprint stories, electronically and in print, 14.5 x 21 cm with matte color covers and b&w interiors, 90-93 pages. Editor-in-chief was Sean Clancy. Managing editor Ty­ler Berd said, ‘‘Generally, we like our issues to balance the pulpy and plot-driven with the meditative and mind-expansive. We just released our five-issue bargain-bundle Piper Pack at <>, since we were Hai­ley Piper’s first short story sale.’’ Cover price was $14.00/print, $10.00/ebook. Pay rate was $0.06/word, up from $0.04, with plans to increase to SFWA-qualifying rates in 2023 with issue #18. [Semiprozine]

We saw two issues of Weird Horror from Undertow Publications, <www.weirdhorror­>, available in print and digi­tal editions and free online, with 20 stories. Issue 4 was 18 x 25.5 cm, issue 5 smaller at 15 x 23, both with glossy color covers and b&w interiors. Editor Michael Kelly said, ‘‘We had great responses to the more experimental works, the stories that were less overtly genre. We would, as always, welcome more submissions from the more marginalized and historically disadvantaged community of writers.’’ Each issue sells about 750 cop­ies combined print and digital (about 60% print) and the website averages 1200 unique visitors per month. Pay rate was $0.015/word with a $25 minimum. [Semiprozine]

In poetry, we received three issues of Dreams & Nightmares, <www.dreamsand­> with 66 poems, priced at $5.00 (less for subscribers) for print, or $1.00 per PDF edition. Print run was 140, with a subscriber base around 90, plus 20 digital subscribers. Editor was David C. Kopaska-Merkel. Pay rate was $12/poem. [Semiprozine]

Star*Line, <>, the journal of the Science Fiction and Fantasy Poetry Association, produced four issues priced at $5.00, with 315 original po­ems, available in print and PDF. There were 309 digital subscribers and 165 print sub­scribers. Pay rate was $.04/word, minimum $4.00, up from $.03/word. Editor Jean-Paul L. Garnier said, ‘‘In 2022 we added a section of interviews with speculative poetry pub­lishers and editors. I would like to see more messages of hope and visions of a positive future.’’ The SFPA also published 80 poems in Eye to the Telescope, a quarterly online speculative poetry journal with a different theme and editor each issue, <www.eyeto­>. [Semiprozine]

Hexagon, <>, edited by JW Stebner, published 18 original stories and 2 original poems in four online issues. ‘‘The two stories that received the best response were Ai Jiang’s ‘Come In, Children’ and Naomi Eselojor’s ‘My Mother’s Love.’ Both are fantasy stories that centre on family. I personally would like to see more positive climate fiction.’’ Pay was C$.01/word and C$5 for poetry. 1,200 uniques, with 340 issue downloads/month and 67 subscriptions via Patreon. [Semipro­zine]

Solarpunk, <>, edited by Brianna Castagnozzi and Justine Norton-Kertson, published 29 original sto­ries in six scheduled online issues, plus 16 original micro fiction stories, poetry, and non-fiction. Norton-Kertson said, ‘‘We’re bringing on first readers, which we didn’t have in our first year…. Stories in which the characters had fun and built community while working to solve a social problem that was important to them always seem to do well with our readers. We get a good num­ber of submissions from authors in Africa, South America, and elsewhere in the Global South, but we’d love to see even more.’’ Pay for fiction was $.08/word. Average unique visitors was 3,300, with 7,200 hits per month, 610 subscriptions, and 1,073 issue downloads. [Semiprozine]

Factor Four <> re­turned after ‘‘closing permanently’’ in De­cember of 2019. Edited by Richard Flores IV, they published 48 original stories in 12 issues. Flores said, ‘‘2022 was an amazing year for us. We plan to keep pushing out great flash fiction in 2023. We find stories with strong emotional responses attract a lot of attention.’’ Pay was $.11/word. Website hits averaged 2,515/month. [Semiprozine]

For print, we also saw two issues of genre-literary crossover journal Conjunc­tions, with some content of genre interest. We saw one issue each of New Edge Sword & Sorcery Magazine, Startling Stories, and Vastarien. We did not see Boundary Shock Quarterly or Weirdbook, but both had issues available in print and digital formats. There were no issues of Curiosities, Phantom Drift, or the SFWA Bulletin out this year. In online mags, Penumbra had two free issues avail­able. Amazing Stories was on indefinite hiatus due to ongoing legal issues with a licensing agreement.



Marguerite Kenner, COO of Escape Artists, Inc., noted PseudoPod’s Ignyte and Brit­ish Fantasy Awards nominations, ‘‘and we made it onto the Brave New Weird list from Tenebrous Press for ‘The Bear Across the Way’, ‘Got Your Nose’ and ‘The Bleak Com­munion of Abandoned Things’… we celebrat­ed Alasdair Stuart’s 15th anniversary as the voice of PseudoPod!’’ Escape Pod: ‘‘’Laser Squid Goes House Hunting’ by Douglas DiCicco and ‘The Sea Goddess’ Bloom’ by Uchechukwu Nwaka are on the longlist for the BSFA Awards. The magazine was a fi­nalist for the Best Semiprozine Hugo Award, as well as the Best Fiction Podcast Ignyte Award.’’ On PodCastle: ‘‘Our longtime audio producer Peter Adrian Behravesh departed with great fanfare, and we were delighted to be joined by two new producers, Eric Valdes and Devin Martin. We showcased our Indigenous Magic month in November, publishing five incredible stories by Indig­enous authors. And we were once again nominated for the Hugo, Ignyte, and Brit­ish Fantasy awards.’’ Cast of Wonders pub­lished three pieces by young authors, ‘‘we’re especially proud of publishing excellent fic­tion for young adults, by young adults, and our landmark 500th episode was one. Our annual Banned Books Week special event was guest edited by Alicia Caporaso, and our Halloween event by Cup Jacob, both of whom are now assistant editors.’’ All four markets pay $0.08/word for original fiction, $100/story for reprints, and $20/flash fiction reprint. [Semiprozine]

There were 52 episodes of Escape Pod, <>, with 48 SF stories, including 20 originals. PodCastle, <>, produced 52 episodes with 52 fantasy stories, including 22 originals. PseudoPod, <>, pro­duced 49 episodes with 64 stories, 22 of them originals. Cast of Wonders <> published 41 episodes with 47 stories, 27 of them originals. Cats­Cast, publishing ‘‘speculative cat stories monthly’’ to Patreon and edited by Laura Pearlman, ran 13 cat-themed stories, seven of which were original, some of them exclu­sive for patrons. Launched in April, ‘‘Cats­Cast made the transition from April Fool’s joke to ongoing monthly podcast in 2022.’’ Escape Pod had 1.28 million downloads in 2022; PseudoPod, 1.15 million; PodCastle, 490,000; Cast of Wonders, 95,000; and Cats­Cast (launched in April), 36,700. [Semipro­zine]

StarShipSofa, <>, produced and hosted by Tony C. Smith, pub­lished 27 episodes with 26 stories, including seven originals. Nick Mamatas joined as editor early in the year. Pay was $50/story. [Semiprozine]

Tales to Terrify, <>, owned and hosted by Drew Sebesteny and edited by Seth Williams, published 52 epi­sodes with 94 original and reprint stories in podcast format. Sebesteny said, ‘‘We had some phenomenal stories, some excellent new additions to our narrator roster and won Fiction Podcast of the Year at the 2022 People’s Choice Podcast Awards.’’ Aver­age downloads per month was 56,000 with pay $0.01 USD/word for stories over 2,000 words. [Semiprozine]

World Fantasy and Ignyte Award winner Nightlight, <>, created and produced by Tonia Ransom, published 20 episodes, paying a flat $75 for original short fiction, $50 for reprints. Nightlight fea­tured 20 stories, mostly originals, ‘‘creepy stories with full audio production written by Black writers and performed by Black ac­tors.’’ Notable authors included Tananarive Due and Eugen Bacon, plus work by Ran­som herself.

Kevin Frost’s Gallery of Curiosities, <>, published ten of 12 planned episodes, pay­ing $.05/word for fiction. ‘‘Horror/Dark Fantasy stories get more downloads. The most popular one was from Greek author Atalanti Evripidou who appeared to have a good local network, as comments from Greek looking names were coming out of the woodwork on social media. I would like to see more weird city stories in the inbox.’’ Average hits per month range greatly, from 300 to 2,000, with average downloads rang­ing greatly from 193 to 327.

Drabblecast, <>, ‘‘off-beat, funny, eclecticism in science fic­tion, fantasy, and horror,’’ hosted, produced, and narrated by Norm Sherman, published 9 stories in 9 episodes. Pay was $.06/word for original fiction and $.03/word for reprint fiction.

Simultaneous Times, <>, published 24 stories in 12 episodes, paying $.02/word. ‘‘We produce a really wide variety of SF sto­ries, and I believe that our audience appreci­ates that we don’t stay in one place for very long. I would love to see more absurdist sto­ries, and works that challenge convention.’’ Average downloads in a year were over 10k.


Michelle Graham & Giles Hash cohosted Beyond the Trope, <>, publishing 50 episodes plus two holiday episodes. ‘‘We were able to partner with FAN EXPO Denver to help with their liter­ary track, marking our official return to local conventions now that pandemic restrictions have been eased. In 2023 we’re going to up­date our Patreon rewards to include one ex­clusive short story a month from one of our hosts for mid-tier and higher subscribers.’’ Interviews included Charlie Jane Anders, Joan He, Sangu Mandanna, Sylvain Neuvel, and more. Average downloads per month were 2,093. [Fancast]

Functional Nerds, <www.functional­>, posted 47 of 48 planned epi­sodes focusing on SF/F media. Patrick Hes­ter said, ‘‘2022 was a lot of fun for us as a show. We were able to make a couple of in-person con appearances and record some live interviews at Capricon and WorldCon, both in Chicago. Getting back out there and seeing people’s faces after such a long pause due to the pandemic reenergized us in a lot of ways…. In 2023, we’re continu­ing to pick some people off the wish list to sprinkle in throughout the year, and we’ll hit episode 600, which will be huge!’’ Guests included Maurice Broaddus, Tobias Buck­ell, Andrea Hairston, Wendy & Richard Pini, Chuck Wendig, Gary K. Wolfe, and more. Episodes averaged 2,230 downloads each. [Fancast]

The Coode Street Podcast, <>, with hosts Jona­than Strahan & Gary K. Wolfe, scheduled 26 episodes but published 51, including daily ‘‘Coode Street Advent Calendar’’ of 10-minute minis that ran through Decem­ber. Strahan said: ‘‘Having won the Hugo Award in 2021, it was another good year for the podcast…. We expect to publish 26 epi­sodes on an approximately fortnightly ba­sis.’’ Downloads averaged 1,480 per episode with a total 75,600 downloads through the year. [Fancast]

Geek’s Guide to the Galaxy, <geeks­>, hosted by David Barr Kirt­ley and produced by John Joseph Adams, had 38 episodes. Kirtley said: ‘‘I’ve been working pretty much 24/7 on Geek’s Guide to the Galaxy for 12 years, and 2022 was the year I decided I really needed to devote more time to other pursuits, so the every-other-week schedule will likely continue into 2023 and beyond. Some of the more high-profile guests that we featured in 2022 were Alex Kurtzman, who oversees all the new Star Trek shows, Chris Matheson, who co-wrote Bill & Ted’s Excellent Adventure, Lori Garver, former deputy administrator of NASA, Ken and Roberta Williams, co-founders of Sierra Online, and Cliff Bleszinski, creator of Gears of War.’’ Kirtley estimates 10,000 downloads per episode, 15,000 regular listeners, and notes 5,000 followers on Spotify. [Related Work]

Our Opinions Are Correct, <>, hosted by Charlie Jane Anders & Annalee Newitz, produced 24 episodes of deep dives into SF books, movies, television, and comics. ‘‘For 2023, we’re going to try and mix it up a bit more, with some episodes that are less scripted and more chatty, and also more episodes that respond to new pop culture stuff, like our recent episode about Avatar: The Way of Water.’’ [Fancast]

The Skiffy and Fanty Show, <skiffyand­>, with hosts Shaun Duke & Bran­don O’Brien, plus a variety of guests. They published 24 episodes plus eight more on Patreon. Interviews included Alex Jennings and Andrew Liptak, guests included John Wiswell, Michi Trota, and Marshall Ryan Maresca. Duke reported ‘‘somewhere be­tween 500 and 1000 listeners.’’ [Fancast]

Writing Excuses, <>, produced 52 educational episodes by writers for writers. Hosted by ‘‘core cast’’ Margaret Dunlap, Mary Robinette Kowal, Mahtab Narisimhan, Erin Roberts, Dong­Won Song, Howard Tayler, and Dan Wells. ‘‘In 2023 we’re going to be doing more Deep Dive episodes.’’ They saw 200,000 listeners per month. [Related Work]

Worldbuilding for Masochists, <world­>, hosted by Cass Morris, Rowenna Miller & Marshall Ryan Maresca, produced 26 epi­sodes plus one bonus ‘‘live-at-Armadillo­Con’’ episode. ‘‘We had a really great year– a second Hugo nomination… we’ve slowly been building a world over the course of the podcast, so our hope for this year is to start the process of putting together an an­thology set in that world….’’ Guests included Elsa Sjunneson, Peng Shepherd, Sarah Gai­ley, Mary Robinette Kowal, Laura Ann Gil­man, and Charlaine Harris. ‘‘20K hits per month.’’[Fancast]

Breaking the Glass Slipper, <www.break­>, an ‘‘intersectional feminist podcast’’ produced 19 episodes. Hosts are Charlotte Bond, Lucy Hounsom & Megan Leigh. ‘‘The hosts had some big life changes in 2022, so we did not produce as many episodes as we have in previous years…. We are also looking at episode length and plan to work towards a shorter playtime of 40 minutes.’’ Guests included Ryka Aoki, Saara El-Arifi, Amal El-Mohtar, C.L. Polk, and more. The podcast had just under 3,000 listens/month, with 23,151 com­plete downloads for 2022.

Hugo, Girl, <>, in which ‘‘Three space feminists read, dissect, and rant at Hugo Award-winning pieces of fiction,’’ produced 22 episodes. ‘‘We didn’t have any guests this year, but we did a few specials that have become tradition: our April Fool’s episode, and our Halloween special.’’ The show is hosted by Lori Ander­son, Amy Salley, and Haley Zapal, edited and produced by Kevin Anderson. They reported 77 unique visitors per month on average, with 242 page views, and average 1,640 downloads per month. [Fancast]

Fangirl Happy Hour, <www.fangirlhap­>, ‘‘on the intersections of fandom, literature, and culture,’’ produced one episode in 2022, a discussion of Seanan McGuire’s Late Eclipses. Hosts are Ana & Renay, co-editors of The Book Smugglers and Lady Business, respectively. [Fancast]


There were three issues of scholarly journal Extrapolation, from Liverpool University Press, totaling 395 pages, including a spe­cial issue on ‘‘Viral Science Fiction’’ edited by Kate Murray and Ashika Paramita, with essays on many topics from ‘‘Arabic Sci­ence Fiction Between the Lines’’ to ‘‘The


Translocated Body’’. Andrew M. Butler was managing editor. Print and PDF available at <­nal/extr>. [Related Work]

There were three issues of academic jour­nal Foundation, <>. Editor Paul March-Russell said, ‘‘2022 was both a year of reflection and change. Reflec­tion, because it was the 50th anniversary of the journal, which we celebrated with a spe­cial summer issue. Change, because there was significant alteration of the staff. Al­len Stroud left as Book Reviews Editor and was replaced by Jonathan Thornton of The Fantasy Hive. He was joined by Cait Coker as our first Media Reviews Editor. Andrew Ferguson departed the editorial team, due to work commitments, and we also said goodbye to my dear friend and colleague, Maureen Kincaid Speller, who died in Sep­tember. The team was reorganised as ‘edito­rial consultants’ and the surviving members, Heather Osborne and Will Slocombe, were joined by Sarah Brown, Anna McFarlane and Chris Pak. What didn’t change was me! Despite interviewing for a successor, no ap­pointment was made and so I will be con­tinuing (possibly as ‘Editor in Chief’) with further adjustments to who does what with the journal.’’ Print runs were 220 copies, matching the SFF membership base. [Re­lated Work]

Three issues of scholarly journal Science Fiction Studies, <>, were published by nonprofit SF-TH Inc. at DePauw University, totaling 623 pages. The magazine was available in print and digital through Project MUSE, with back issue ac­cess through JSTOR. Arthur B. Evans, SF-TH Inc. president, was the managing editor. Issue #147 was a special issue on ‘‘Food Futures’’ guest-edited by Nora Castle and Graeme Macdonald and #148 included a special section on Kim Stanley Robinson. Subscriber base was over 500, with the print/electronic subscription ratio averaging 40%/60%. [Related Work]

Kevin J. Maroney published one issue of The New York Review of Science Fiction <>, with 225 subscrib­ers, up from 183, and around 3,000 website hits/month. Maroney said, ‘‘We hope to get 4-6 issues out in 2023. As the pandemic shutdown slowly (and unwisely) unshuts, our publisher (who is writing about himself in the third person here) had to return to the office several days a week, which, with the other stress of the ongoing Way That Everything Is, has left NYRSF languishing. We’re still very proud of the issue we did this year.’’ Pay rate was $40 for features, $20 for reviews, and $10 for short features. [Semi­prozine]

One issue of Wormwood, edited by Mark Valentine, was available from Tartarus Press, with critical works exploring the fantastic, su­pernatural, and decadent in literature <>. Cover price was £9.99. Wormwood ceased publica­tion in spring 2022. [Semiprozine]

There were four issues of Australian SF Commentary, with reviews, essays, articles, two short stories, and a Bill Wright tribute issue. Editor and publisher was Bruce Gil­lespie, with free PDFs available through <>. [Related Work]

SFRevu <> published 12 monthly issues, free online, with 68 book re­views, 35 short fiction reviews, four manga/graphic novel reviews, SF/F news, and col­umns. Senior editor was Gayle Surrette.

There were two issues of Vector, <>, the critical journal of the British Science Fiction Association, edited by Po­lina Levontin and Jo Lindsay Walton, with articles on SFF in books, games, television, music, and film. Issue 295 was a special is­sue on Greek SFF guest-edited by Phoenix Alexander. Issue 296, a special issue on SFF and Justice, was guest-edited by Stewart Hotston. The latest print run was 700.

In 2022, there were two issues of Focus, the BSFA’s magazine for writers, edited by Dev Agarwal; several issues of the digital reviews zine BSFA Review, edited by Sue Oke; and two volumes of the digital fiction anthology Fission, edited by Eugen M. Ba­con and Gene Rowe. Next year, the BSFA plans to publish two issues of Vector on the themes of Applied Science Fiction/Futures (guest-edited by Stephen Oram) and Li­braries/Archives (guest-edited by Phoenix Alexander and Stewart Baker); two issues of Focus (ed. Dev Agarwal); one issue of Fis­sion (ed. Eugen M. Bacon and Gene Rowe); and 3-4 issues of The BSFA Review (ed. Sue Oke). In addition to print subscriptions, the BSFA now also offers digital-only member­ship, making BSFA publications more ac­cessible to a global audience; this includes PDFs of all BSFA publications, as well as other membership benefits, such as partici­pation in BSFA Awards and writers’ groups. [Related Work/Fan9-7448zine]


Our gauge for quality is based on our short fiction Recommended Read list; see chart. We recommended 117 pieces of short fic­tion from 2022, nine fewer than last year’s 126. Recommended stories appeared in 29 magazines or online venues, down from last year’s 34. Anthologies had the most recom­mended stories with 23, up from last year’s seven. Major anthologies were Tomorrow’s Parties with five stories, African Risen with four, Someone in Time with three stories, Dark Stars: New Tales of Darkest Horror, Other Terrors: An Inclusive Anthology, Screams from the Dark, and Trespass with two stories, and Into Shadow, The Memory Librarian, and New Worlds with one story each. Collections had two recom­mended stories, down from three last year. For the second year, Uncanny led the maga­zines/fiction sites, publishing nine stories in 2022, followed by Strange Horizons with eight, The Deadlands and F&SF with seven, and Beneath Ceaseless Skies, Fiyah, and tied with five stories each. The remain­ing 21 magazines had four or fewer recom­mended titles.


We were excited to have a few new venues, most notably the Sunday Morning Trans­port, which ran a year of excellent fiction. Unfortunately, we also saw a lot of exhaus­tion and trepidation about the future in the comments from many of the veteran maga­zines: ‘‘very few readers are paying so there is much unpaid labor – making the work of publishing accessible only to those who are able to donate their time and/or energy,’’ ‘‘there are no plans to publish stories in 2023,’’ and ‘‘overall income this year so far is $905, up about 20%. 2022’s operating bud­get was $12,500 so breaking even isn’t even a pipe-dream at this point,’’ and ‘‘it’s hard and expensive to manage a zine in a flat structure and on voluntary basis especially in stressful and force majeure situations.’’ Dropping off our list are Fireside, Daily Sci­ence Fiction, Constelación, Arsenika, Lack­ington’s, Lamplight, Deep Magic, Cossmass Infinities, Wormwood, Mermaids Monthly, and more.

We know readers value the fiction and the people who are getting it published. The magazines are taking a hit right now, and without reader support, more will go away. Show the magazines you read that you val­ue their work: subscribe, donate, join their Patreons, advertise on their websites, talk about them on social media. They need it.

Francesca Myman, Arley Sorg, Liza Trombi, with input from Bob Blough

This summary and more like it in the March 2021 issue of Locus.

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