Year-in-Review: 2024 Magazine Summary

Oh, we love our magazines! It was a great year for some, but the final year for others. Venues changed frequency (usually down), others moved away from print, some added other forums and opportunities for readers. Overall, we saw fewer new venues than in previous years. Revenue is still coming from Kickstarter, Patreon, and other crowdfunding for a lot of the mags, who are still largely putting fiction up for free and then asking for donations. We continue to battle rising printer, shipping, and paper costs. Some venues are still suffering the dropped income from Kindle Unlimited, while others have shifted to selling direct. The good news? We are still seeing a healthy quantity of excellent, imaginative fiction in the market.

The Hugo Award category designation at the end of each description comes from either the publisher, <semiprozine.org>, 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 and venues for Best Related Work.

Here the genre magazines are primarily sorted by Hugo Eligibility: Professional, Semiprozine, etc., and then loosely by pay rate and the amount of fiction published. We covered 71 magazines, 23 audio sites, and nine 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 is less meaningful with digital numbers on the rise yet unreported. Print-plus-digital circulation figures for Locus comprise the subscription numbers; Asimov’s, Analog, and F&SF did not provide digital sales numbers. We use the sell-through number just for print (since digital has a 100% sell-through).

PROFESSIONAL MAGAZINES

Analog, <www.analogsf.com>, had 7,008 print subscriptions, down from 7,745 last year. Due to the changes at Amazon, digital counts continue to be unavailable. Newsstand sales were 2,794, up from 2,462, and sell-through was 50%, up from last year’s 47%; neither figure includes digi­tal. Paid circulation was down 4%. The maga­zine is now available directly through <analogsf.com>.

Analog produced six tall, digest-size double is­sues with 208 pages each. Cover price was $8.99. There were five novellas, 20 novelettes, and 70 short stories, for a total of 95 pieces of fiction, same as last year, plus ten pieces of flash fiction, six ‘‘Science Fact’’ pieces, 12 poems, and other non-fiction. Covers were of good quality, featur­ing mechanical creations, astronauts, and war­ring robots.

Editor Trevor Quachri said, ‘‘We’re going into 2025 excited for big changes ahead. We started ‘Unknowns’, a new column of science-fictional puzzles from notable constructors, ed­ited by Alec Nevala-Lee, and we just participated in The Ninth Annual City Tech Symposium on SF, Artificial Intelligence, and Generative AI. Additionally, Emily Hockaday, our Poetry Edi­tor, earlier this year put out ‘The Heartbeat of the Universe,’ an anthology of poetry from Analog and Asimov’s, via Interstellar Flight Press: <www.interstellarflightpress.com/heartbeatuniverse.html>. As I alluded to, we hope to have some big news to share in the new year, so stay tuned for that!’’ Analog paid $.08 cents per word for short fiction, and $.06 cents per word for serials. [Pro­fessional]

Asimov’s, <www.asimovs.com>, had 4,987 print subscriptions, down from 5,312 last year. As with Analog, digital numbers were not avail­able. Newsstand sales were 2008, a little down from 2,024, and sell-through was at 39%, up from last year’s 36%; neither figure incorporates digital. Total paid circulation was down 4.6%. The digest is now available directly through <www.asimovs.com>.

Asimov’s produced six tall, digest-size double issues with 208 pages each. There were 10 novel­las, 22 novelettes, 33 short stories, for 65 pieces of fiction, down from 66 last year, plus 33 poems and some non-fiction. Cover price was $8.99. Good-quality covers included a woman riding an amphibian alien, a pulp mystery style depic­tion of investigators viewing a murder holo, and a whimsical airborne ship escorted by dragons. Editor Sheila Williams said, ‘‘We were lucky to have another great collection of stories to pub­lish in 2024.

Authors new to Asimov’s included Ian Baaske, Ashok K. Banker, Chris Campbell, Nkone Chaka, Leonid Kaganov, Rajan Khan­na, Bunny McFadden, Faith Merino, Lisa Pa­pademetriou, Elena Pavlova, R.P. Sand, Amal Singh, Genevieve Valentine, and other innova­tive writers. We had unsettling stories from Zack Be, Stephen Case, Greg Egan, Stephanie Feld­man, Jeffrey Ford, Molly Gloss, Naomi Kritzer, Rich Larson, Sarah McDonald, Ray Nayler, Christopher Rowe, Lavie Tidhar; fun works from Alex Jablokov, Michèle Laframboise, Ian McDonald, Sean McMullen, Kristine Kathryn Rusch, R. Garcia y Robertson, Pete Wood; and more wonderful stories from too many other au­thors to list! I already have a lot of terrific mate­rial on hand for 2025.’’ Asimov’s paid $.08-$.10 per word for short stories up to 7,500 words, and $.08 cents over 7,500. [Professional]

F&SF, <www.fandsf.com>, showed print of Ownership, down from 4,791 the prior year, with 898 copies sold on newsstands, down from 912 last year, and sell-through of 29%, down from 33%. Paid circulation was down 9.8% com­pared to last year’s 3.5% drop. As always, without digital figures available it’s difficult to say how well the magazine did overall.

F&SF had an unusual year, producing just two digest-size double issues, a ‘‘winter’’ and a ‘‘sum­mer’’ issue, each 258 pages: four novelettes and 28 short stories, for 32 pieces of fiction, down from 85 last year, plus eight poems and some non-fiction. Cover price was $10.99. Cover art was of good quality, featuring an arch overlook­ing a distant landscape and an astronaut contem­plating Jupiter from a vantage point on a craggy moon. The publisher was Gordon Van Gelder, and the editor was Sheree Renée Thomas. Pay rate was 8-12 cents a word. [Professional]

Locus, <locusmag.com>, shows paid circula­tion up 0.7% in 2024. Sell-through was 67%, up from 57% last year. Subscription numbers were 3,001, up from 2,959 last year, largely due to an increase in Patreon subscriptions. As a 501(c)3 non-profit, Locus relies on donor support to survive, through Patreon, direct donations, and fundraisers.

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. Print cover price was $12.50(less for subscribers), digital was $5.99, with a monthly auto-renew option for $4.99 per issue.

We ran 584 reviews of SF, fantasy, horror, and YA fiction, down from 701 last year, including 305 short fiction. Numbers were affected by in­cluding our double Dec/Jan issue in the prior annual report. Our ‘‘Spotlight on’’ feature cov­ered artists Manzi Jackson, Richard A. Kirk, Sara Felix, Raya Golden, Chris McGrath, Micaela Alcaino, Virginia Lee, Christine Mitzuk; the Au­thors Against Book Bans organization; magazine The Deadlands and its publisher, Psychopomp; and book subscription box service Illumicrate and their quarterly science fiction subscription, Starbright.

Locus covered the SFWA Nebula Conference, the International Conference on the Fantastic in the Arts, the Locus Awards, Readercon, Bay­Con, Writers and Illustrators of the Future, Lux­Con, Norwescon, StokerCon, the Williamson Lectureship, World Fantasy, and Worldcon in Glasgow plus other international cons Can*Con, ICon, and the Academic Conference on Canadi­an Science Fiction and Fantasy. International re­ports covered SF in Brazil, India, Ukraine, Spain, Japan, Bulgaria & Romania, and the Future Fic­tion Workshop in Sichuan, China.

Liza Groen Trombi was editor-in-chief; Kirst­en Gong-Wong was managing editor. Trombi said, ‘‘For 2025, we have some exciting changes coming. After a deep dive into our platforms and business, and interviewing a lot of readers and industry folks, we’re rebuilding our tech back end, and making some improvements to the subscription model, the website, and eventu­ally to the mag. All the changes are intended to reach more audience, repackaging some of our content for newer reading models, and build­ing a stronger business – all while keeping true to the heart of what Locus is in quality and care for the material. In other news, we’re dropping our main distributor, ANC, because the return is pretty much negative overall, and their arcane system of tracking of issues and payments makes more administrative work than the amount they pay us for issues. Sad to say, Diamond Comics, our other distributor, just announced Chapter 11 bankruptcy, so hoping their transition keeps the business afloat.’’ Our website saw an average of 2.5 million non-bot sessions per month. [Related Work/Professional]

Reactor, <www.reactormag.com>, (formerly known as Tor.com) published 35 originals -– 22 short stories, 11 novelettes, two novellas –- plus five reprints; as well as artwork, commentary, non-fiction, and more, all web-based with some content available as ebooks and in newsletters. Short fiction production coordinator Nancy Lambert said, ‘‘This was a big year for Reactor – we changed our name and our look, but not our commitment to publishing outstanding original stories from writers around the world. We’re especially delighted that about a third of our stories this year were from authors who hadn’t published short fiction with us before, includ­ing Jordan Kurella (‘Evan: A Remainder’), Karen Heuler (‘Instar’), Renan Bernardo (‘The Plastic­ity of Being’), Kell Woods (‘Before the Forest’), Amal Singh (‘The Gulmohar of Mehranpur’), Genoveva Dimova (‘Ace Up Her Sleeve’), Emma J. Gibbon (‘Everybody Is in the Place’), Kaaron Warren (‘Bright Hearts’), Chris Willrich (‘Nine Billion Turing Tests’), Congyun ‘Mu Ming’ Gu (‘A Well-Fed Companion’), Michael Cisco (‘The Two Musics’), Martin Cahill (‘The Angel’s Share’) and K.A. Teryna (‘Songs of the Snow Whale’). We also want to highlight all the incredible original art featured with our short fiction in 2024 – our art team and illustrators deserve a huge round of applause!’’ Pay for fiction was $.25/word to 5,000 words, $.15 for the next 5,000, $.10 thereafter. They reported 2.5-3 million page views a month. [Professional]

Clarkesworld, <clarkesworldmagazine.com>, published 12 online, electronic, and print issues, with 93 pieces of original fiction (71 short sto­ries, 20 novelettes, and 2 novellas), all with pod­cast editions, and assorted non-fiction includ­ing 12 articles and 24 interviews. Covers were high-quality original art. Publisher Neil Clarke said, ‘‘2024’s problems mirrored 2023. ‘AI’ sub­missions and Amazon canceling their digital subscription program. While we participated (at significant loss of revenue) in the new KU [Kin­dle Unlimited] for Magazines program for a year, Amazon wanted to decrease its payments to us by an even more significant margin moving for­ward. Despite having the #2 performing maga­zine in the program, we severed our relationship with them. Our focus in 2025 will be a continued emphasis on building subscriptions so we can pay our staff, authors, translators, and artists a more reasonable and professional wage for their work. Having accomplished our first milestone, author rates are increasing from 12 to 14 cents/word effective January. While many of our sto­ries garnered a lot of online attention in the last year, none had a response quite like ‘Why Don’t We Just Kill the Kid in the Omelas Hole’ by Isa­bel J. Kim which continues to be talked about ten months after publication. Other reader favorites include stories by Fiona Jones, Rich Larson, Tia Tashiro, Fiona Moore, Thomas Ha, Arula Ratnakar, Louis Inglis Hall, A. W. Prihandita…. We have been concerned that ‘AI’ submissions would interfere with our abil­ity to discover new voices and are very happy to say that our efforts to minimize that pos­sibility are working for the moment. We published nine first-time authors this year! We are particularly interested in reminding authors from outside the US that we want to see their stories too.’’ There were approximately 4,400 subscribers, including 650 print plus digital subscribers, with 200-250 individual digi­tal and around 40 print cop­ies sold separately per month. Print cover price changed from $8.99 to $9.99 with the August 2024 issue; electronic issues were $3.99/month with subscription. Clarkesworld paid $.12/word in 2024. [Professional]

There were 12 issues of Forever, <forever-magazine.com>, Clarke’s ‘‘reprint only’’ project, with 44 reprint science fiction short stories, no­vellas, and novelettes. The magazine was avail­able in digital formats for $2.99 per issue or by subscription. [Professional]

Apex, <www.apex-magazine.com>, produced six digital issues with 41 original stories and 12 reprints. Apex Books editor Rebecca Treasure said, ‘‘In addition to our six regular magazine is­sues, with reviews and essays in addition to our fiction, we also shared interviews, essays, photo tours, and critique opportunities on our Patre­on. Our popular ‘‘Snap Judgement’’ series on our YouTube continued with excellent guests and excerpts from brave submitters. 2024 was Les­ley Conner’s first year as sole EiC, and we had a spectacular year. Our 2025 Kickstarter funded 4 issues, so Apex will be going quarterly next year, with Issue 150 publishing as our special ‘‘Un­published Authors’’ issue next summer.’’ There were 12,000 unique visitors/month with 35,000 hits/month and 900 subscribers including 597 Patrons, down from 1,200 total last year; free on­line and in ebook for $4.99, less for subscribers. Pay rate was $.08/word. [Professional]

Lightspeed, <www.lightspeedmagazine.com>, and Nightmare are online and electronic, pub­lished by Adamant Press. Edited by publisher John Joseph Adams, they produced 12 issues, online and electronic, with science fiction (22 short and 24 flash), fantasy (24 short and 24 flash), one novella, plus interviews, podcasts, and more. Issues were free online, $4.99 for elec­tronic, and $41.92 for a one-year subscription. Pay was $.08/word. [Professional]

Nightmare, <www.nightmare-magazine.com>, edited by Wendy N. Wagner, published 12 monthly issues with 34 original horror and dark fantasy stories (23 shorts, 11 flash) plus twelve poems and non-fiction. Issues were free online, $3.99 for electronic, and $33.52 for a one-year subscription. Pay was $.08/word. [Professional]

The Dark Magazine, <www.thedarkmagazine.com>, published 24 original ‘‘dark and strange’’ stories plus 24 reprints in 12 digital issues. Editor Sean Wallace said, ‘‘Three stories that most rep­resented the magazine included ‘The Grit Born’ by Frances Ogamba; ‘Garlands for Your Bridal Chamber’ by Fatima Taqvi; and ‘Bite Me, Drink Me, Eat Me’ by H. Pueyo. In the future I’d like to see more of the same, so there should be even more editorial outreach to make this happen.’’ Issues were free online, $2.99 for ebook, $1.99 for subscribers. There were about 9,000 visits monthly and 258 digital subscribers. Pay rate was $.05/word for originals, $.01/word for reprints. [Professional]

We saw five perfect-bound, 15 x 23 cm issues of Pulphouse, <pulphousemagazine.com>, with glossy color covers and b&w interiors, 183-283 pages, with 55 short stories, up from 30. There were additional issues available online but we did not see them. Editor was Dean Wesley Smith, with executive editor Kristine Kathryn Rusch. Cover price was $16.99/print, $14.99 for subscribers, and $6.99/ebook. [Pro­fessional]

SEMIPROZINE

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

Sunday Morning Transport, <sundaymorn­ingtransport.com>, edited by Julian Yap & Fran Wilde, published 44 original stories and four re­prints online and in weekly newsletter format via Substack. Wilde said, ‘‘In 2024, we have been so buoyed by the work our writers are doing, and by the reception (word of mouth and best-of/nomi­nations, both!) that work is getting that we are determined to make 2025 even better, with more excitement (the good kind).’’ Pay was $.25/word. Wilde reported nearly 4,350 subscribers (com­bined paid and free). [Semiprozine]

Uncanny, <www.uncannymagazine.com>, published six issues, online and electronic, with 42 original stories –- including one novella and seven nov­elettes; plus essays, poems, interviews, and podcasts. Lynne M. Thomas & Michael Damian Thomas were co-ed­itors-in-chief. Betsy Aoki took over as poetry editor. ‘‘2024, all considering, was tremendous for Uncanny Maga­zine. We faced numerous challenges including the Editors-in-Chief daugh­ter, Caitlin’s, palliative care, hospital­izations, and death. There were some staff changes, social media continued to fracture, and Uncanny Magazine continued to recover from the problem of Amazon closing the Kindle Periodi­cal Program and forcing the magazine onto Kin­dle Unlimited with a 50% reduction of income. Uncanny Magazine won the 2024 Locus Award for Best Magazine. Editors-in-Chief Lynne M. Thomas and Michael Damian Thomas won their first World Fantasy Award for their Uncanny Magazine work. ‘The Year Without Sunshine’ by Naomi Kritzer won the Best Novelette Nebula and Hugo Awards. ‘Tantie Merle and the Farm­hand 4200’ by R.S.A. Garcia won the Best Short Story Nebula Awards and the Sturgeon Memo­rial Award. ‘How to Raise a Kraken in Your Bath­tub’ by P. Djèlí Clark won the BSFA Best Short Fiction Award and the Best Short Story Locus Award. ‘Six Versions of My Brother Found Un­der the Bridge’ by Eugenia Triantafyllou won the Best Novelette Shirley Jackson Award… 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 2,500 sub­scribers (not including Kindle Unlimited) and averaged 57,000 uniques. Pay was $.10/word for fiction. [Semiprozine]

Strange Horizons, <www.strangehorizons.com>, published weekly online issues plus a special fund-drive issue, with 41 original sto­ries, and poetry, reviews, and articles. SH won a Hugo Award for Best Semiprozine in 2024. Coordinating editor Gautam Bhatia said, ‘‘We also have some tentative plans for themed and demographic-specific submission calls. This year our collaboration with Fight for the Future’s Stop Copaganda short story contest kicked off; on the back of that we’d love to see more stories that address technological surveillance in nuanced, character-driven ways. Beyond that, our wishlist for 2025 once more features more Indigenous- and Black-authored fiction, more stories that address religion and faith with compassion and subtlety, and more stories that imagine alterna­tives to capitalist and colonialist power struc­tures. Trends this year: we’ve published a fair amount of fiction with horror/darker themes (partly driven by our body horror special), which feels unusual for us. Authors to watch include Gabrielle Emem Harry, Natasha King, Avra Margariti and B. Pladek.’’ Pay rate was $.10/word for fiction. [Semiprozine]

Strange Horizons’s sibling magazine Samovar, ‘‘a quarterly magazine of and about translated spec­ulative fiction,’’ edited by Sarah Dodd and Greg West, produced four online issues with six original stories and their accompanying trans­lations, two reprints, and poetry. Pay rate for original fiction was $.08/word to both author and translator, up to $300 each. [Semipro­zine]

Beneath Ceaseless Skies, <beneathceaseless-skies.com>, a biweekly ‘‘literary adventure fantasy’’ maga­zine published and edited by Scott H. Andrews, pro­duced 25 issues, available free online and as ebooks for purchase or subscription. These con­tained 37 short stories, 20 novelettes, and one novella for 58 total original fiction pieces, plus 17 original podcast episodes. Andrews said, ‘‘Acco­lades included a second Hugo Award finalist for Scott for Best Editor Short Form (BCS recused from further nominations for the Best Semi­prozine Hugo).’’ Fiction singled out included ‘‘A Pilgrimage to the God of High Places’’ by Ma­rissa Lingen, ‘‘We Shall Drink Wine’’ by Andrew K Hoe, ‘‘The Speech That God Understands’’ by Jonathan Edelstein, and ‘‘Katya Vasilievna and the Second Drowning of Baba Rechka’’ by Chris­tine Hanosly. ‘‘Highlights included stories by K.J. Parker, Rajiv Moté, Cat Rambo, Amanda Helms, Grace Seybold, and Leah Cypess, and a seventh Science-Fantasy Month, featuring fiction by Na­talia Theodoridou, A.T. Greenblatt, Elly Bangs, and more. Funding remained a challenge. Less than 1% of the readership supported the maga­zine financially (donation, Patreon, ebook sub­scription).’’ The website averaged 71,000 uniques per month; podcast episodes averaged 5,800 downloads. Pay rate was $.08/word. [Recused from Semiprozine; Andrews eligible for Editor, Short Form]

Worlds of Possibility, <www.juliarios.com/worlds-of-possibility/>, edited by Julia Rios, published 37 original stories plus poetry in six digital issues. ‘‘I am planning to wrap things up in 2025…. [I] will probably be aiming to end the run with the June issue (that will have made a three-year digital issue run of 6 issues per maga­zine year starting in August of 2022). There will also be a second print anthology volume of work from the magazine sometime in 2025…. I think the dragon themed issue for June was a general favorite this year.’’ Pay is $.10/word for original fiction and $50 for poetry. [Semiprozine]

khōréō, <www.khoreomag.com>, is ‘‘a quar­terly magazine of speculative fiction and migra­tion’’ published by Aleksandra ‘‘Ola’’ Hill, with editor-in-chief Zhui Ning Chang and editors Kanika Agrawal, Danai Christopoulou, and Isabella Kestermann. A Best Semiprozine Hugo finalist in 2024, they published 35 original sto­ries in five online, free-to-read issues. ‘‘[W]e had several key staff changes, including EIC, editors, and art director; we also experimented with form including themed Flash and POV issues, and began actively seeking translated SFF.… Sto­ries with strong responses included ‘‘Weird, dark stories with a distinctive voice e.g. ‘Ace of Knives’ by E.A. Xiong, ‘Human Trials’ by Madeleine Vigneron, ‘Goddess of Loneliness and Misfor­tune’ by Anna Bendiy, ‘High Performer’ by Jason Pangilinan, ‘Cuckoo’ by Esra Kahya, translated by Aysel K. Basci. We would love to see more stories from writers based internationally, es­pecially in the Global South, and more works in translation.’’ The site saw total unique visitors of ~18,000 and they have 417 subscribers. Pay was $.10/word for fiction, $500 for custom cover art and $100 for licensed art. [Semiprozine]

We saw four issues of Pulp Literature, <pulp­literature.com>, available in print and electroni­cally, with 43 original stories including four graphic shorts, one reprint story, 11 original poems, one reprint, and some non-fiction. Print was digest-size, perfect bound with glossy color covers and b&w interior. Managing editor Jen­nifer Landels said, ‘‘2024 was rough, with cost increases across the board, and production de­lays in the latter half…. We had a stunning crop of stories this year including Kate Heartfield’s ‘The Investigation is Sealed’, Matthew Hughes’s ‘The Forest of Shadows’, Kelly Robson’s ‘La Vi­tesse’ and Finnian Burnett’s ‘When Captain Picard Was My Dad’ and ‘Grandma Had Guns’. EC Dorgan is a writer to watch: she won first and second place in the Raven Short Story Contest with ‘Flehmen Grimace’ and ‘Watercolours’. Nat Kishuk’s ‘Octavier’ was beautiful and haunting. We’d love to see more stories from marginalized voices, afro- and indigenous-futurism, and femi­nist SF.’’ Digital subscriptions were around 480, up from 300, with individual digital sales of 20/issue. For print there were 90 subscribers and around 80 single copies sold per issue. Pay rates were $0.02 to $0.08/word. Price was C$17.99 print, up from C$14.99, C$6.99 electronic, up from C$4.99, less for subscribers. [Semiprozine]

There were three issues of Weird Tales <www.weirdtales.com> the reboot, edited by Jonathan Maberry and published by John Harlacher, 102-130 pages, with 26 pieces of short horror and weird fiction, ten pieces of flash fiction, eight poems, and some non-fiction. The ‘‘occult de­tective’’ themed issue was dedicated to Brian Lumley (1937-2024), and other themes were ‘‘The Bram Stoker Awards Issue’’, and ‘‘The Monster Issue’’. Cover price was $14.99-20.00/print. [Semiprozine]

The Deadlands, <thedead­lands.com>, ‘‘an adventure into the unknown, to meet those who live there still, even though they may be dead,’’ published 24 original stories plus poetry and non-fiction in four online issues. Print editions were perfect-bound, 12.75 x 20.5 cm, with matte color covers and b&w interiors. Editor-in-chief E. Catherine Tobler said, ‘‘2024 was our first year doing print copies, and while we love having a version of the magazine we can hold in our hands, it is a huge production to get them out, between print­ing problems and the general state of shipping both domestic + international shipping… no cur­rent plans to scrap print editions, but we’re also watching how the…incoming administration will probably complicate this issue further. Our most-read story last year was ‘The Long Way Up’ by Alix E. Harrow (which published in 2022). Our second most read piece was Lyndsey Croal’s nonfiction piece on Scottish folklore. Our third most read story was ‘There’s a Door to the Land of the Dead in the Land of the Dead’ by Sarah Pinsker (published in 2023).’’ 4,700 average unique visitors per month with just over 300 Pa­treon subscribers. Pay was $.10/word for fiction, $50/poem, $100/non-fiction. [Semiprozine]

Diabolical Plots, <www.diabolicalplots.com>, edited by David Steffen, published 24 origi­nal stories in 12 monthly online issues. Steffen said, ‘‘We bid farewell to editors Kel Coleman and Chelle Parker, and welcomed new editor Amanda Helms this year….’’ among other up­dates. Steffen cited ‘‘BUDDY RAYMOND’S NO BULLSHIT GUIDE TO DRONE HUNTING’’ by Gillian Secord, ‘‘St. Thomas Aquinas Adminis­ters the Turing Test’’ by Mary Berman, and ‘‘Let­ters From Mt. Monroe Elementary, Third Grade’’ by Sarah Pauling as stories which received strong responses. Pay was $.10/word, and the site aver­aged ~5,000 active visitors. [Semiprozine]

Haven Speculative, <www.havenspec.com/>, edited by Leon Perniciaro, published 31 origi­nal stories plus poetry in six digital issues. ‘‘[W]e’re hoping to have a Kickstarter in early 2025 to fund us through to the end of the year!… The emotionally gripping stories are always the ones that do best, regardless of genre. We always want things that are lyrically written and emotion­ally poignant. If I had to name a genre, it would probably be weird fantasy? We have some great authors scheduled for 2025: Sagan Yee, Marie Vibbert, Alex Woodroe, and more!’’ Pay is $.08/word for original fiction. Over 100 subscriptions. [Semiprozine]

Abyss & Apex, <www.abyssapexzine.com>, published 26 original stories, plus book reviews, editorials, and poems in four quarterly issues and, separately, a special holiday story. Editor and publisher Wendy S. Delmater said, ‘‘2024 was a good year! We’ve spent it publishing great fiction, and training the new editor in chief, Bonnie Brunish, to take over as of the next issue on January 2, 2025. We had an enor­mous response to our flash fiction piece by new author Stacie Turner. Her debut story, ‘Interview #5,’ went viral. You absolutely have to watch author Rob Han­sen [AKA Robert Auer­bach], who wrote our flash ‘The Critique Boutique’.’’ Average unique visitors per month was ~11,000 to 12,000. Pay was $.08/word to 1,000 words, with a max of $80. [Semiprozine]

Augur, <www.augurmag.com>, a digital lit-spec-fic magazine, published 19 stories and 15 poems plus art in three issues. Lead editors were Kerry C. Byrne & Toria Liao, Frankie Hagg, and Conyer Clayton. Mid-year they announced a re­structuring of the Augur Society organization, with Toria Liao becoming chief operating officer and longtime co-editor-in-chief Terese Mason Pierre transitioning to chief program officer. Sibling magazine Tales & Feathers published 13 ‘‘slice-of-life fantasy stories’’ and more in one digital issue. Pay for both Augur Society publi­cations increased to CAD$0.14/word for fiction, CAD$100 for poetry, CAD$500 for illustrations, and CAD$1,000 for cover art. [Semiprozine]

Reckoning, <reckoning.press>, ‘‘a nonprofit, annual journal of creative writing on environ­mental justice,’’ published one issue with 12 orig­inal stories and one reprint plus 12 original po­ems and some essays, 15 x 23 cm perfect bound with semi-gloss color cover, 264 pages, available in print and electronic editions and free online. Publisher Michael J. DeLuca said, ‘‘In 2023, we paid $0.10/word, but as of about halfway through 2024 we got a grant and are now pay­ing $0.15/word til it runs out (which will hap­ pen mid-2025). Stories by marginalized folks of color telling the hard truths but finding a thread of hope got the most attention for us this year. In 2025 we’re publishing a special issue on war in addition to our 9th annual issue.’’ There were 108 web content subscribers, 15 ebook subscribers, and 99 print sales. Average unique visitors per month was 23,212, up from 19,000, with 185,222 average monthly hits, up from 156,000. Regular issue print cover price was $15.00, $7.00/ebook. [Semiprozine]

We saw three issues of Old Moon Quarterly, <oldmoon­publishing.com>, a print and electronic magazine featuring ‘‘weird fiction, sword-and-sor­cery and all the intersections thereof,’’ with 24 stories and six poems, all original, 15.25 x 23 cm, perfect bound, with matte covers, some color and some b&w, and b&w interiors, 103-198 pages. Publisher was Julian Barona, and editors were Graham Thomas Wilcox and Caitlyn Emily Wilcox, who said, ‘‘2024 was a busy year for us. We fulfilled our first Kickstarter, and it was quite the adven­ture. We’ve heard very kind things about Alex Fox’s story ‘The End is the Beginning is the End’ and Laird Barron’s ‘Now I Have the Scent,’ both in OMQ 8, and E. Catherine Tobler’s ‘Stolen by Moonlight, Betrothed by Sun,’ in OMQ 7. We’d love to see some more experimental and strange stories. Adam McPhee’s ‘Diary of the Wolf’ in OMQ 6, an epistolary tale in 17th century Eng­lish dialect, was one of our favorites this year.’’ Pay rate was $0.08/word for fiction, $50/poem. Price was $9.99 print, $2.99-$3.99 electronic. [Semiprozine]

Fiyah, <www.fiyahlitmag.com>, the ‘‘Maga­zine of Black Speculative Fiction,’’ published four scheduled digital issues with 20 pieces of fiction, as well as hosting the Ignyte Awards. Fiyah was again a Best Semiprozine Hugo Award finalist in 2024. Publisher and executive editor DaVaun Sanders said, ‘‘2024 was a year where all of our issues were guest edited by our acquiring editors, aka slush readers. I wanted them to have the ex­perience of putting an issue together and they all took the opportunity and ran with it…. Favorite stories: ‘D.E.I. (Death, Eternity, and Inclusion)’ by N. Romaine White; ‘A Carapace of Coral’ by Amanda Helms; ‘The Carcosa Pattern’ by Con­rad Loyer; ‘My Mother’s Daughter’ by C. M. Lockhart. Conrad’s story blew me away, imagi­native and haunting. Definitely one to watch!’’ Pay was $.08/word for fiction, $50 for poetry. They had 179 subscribers, at least 642 digital purchases, and over 2,015 uniques per month. [Semiprozine]

Factor Four, <factorfourmag.com>, edited by Richard Flores IV, published 48 original ‘‘flash fiction stories from the Speculative Fiction realm’’ in 12 online issues. Pay was $.11/word. Average unique visitors were 200 per month. [Semiprozine]

Monthly Flash Fiction Online, <flashfic­tiononline.com>, edited and published by Re­becca Halsey, posted 12 scheduled issues with 60 flash fiction pieces – 49 original and 11 re­prints. Halsey said, ‘‘In January, we established a nonprofit publishing press in which FFO is now an imprint… We found a wonderful community on Bluesky. We started work­ing with guest editors ($100 stipend), and that has really expanded our staff’s knowl­edge of other subgenres. We have seen much less volunteer turnover because we moved to a seasonal reading schedule instead of monthly. We had a goal of working up to 5-6 sto­ries a month instead of our historic four. It took us all year, but we did get there!… Our biggest goal is revamp our website to make it a little bit more easy to find things, particularly articles and stories from our archive…. And I’d like to do a young adult spe­cial issue. Our weird horror issue was extremely well received which is so lovely because it was a huge lift for the whole team! ‘Within the Dead Whale’ by Spencer Nitkey and ‘To Serve the Em­peror’ by Damián Neri are both top of my list, both from our weird horror Oct issue.’’ Pay was $100 for original flash, $36 for reprints. They had ~12,206 average uniques and ~24,588 hits per month – higher if including the outlier month of June; and at least 74 subscribers with at least 163 digital issues sold. [Semiprozine]

We saw three issues of Heartlines Spec, <heartlines-spec.com>, a Canadian print and electronic ‘‘speculative magazine focused on long-term friendships and relationships’’ with 22 original stories and 14 poems, 15.25 x 23 cm, perfect bound with glossy color covers and b&w interior, 96-110 pages. Managing editor Rebecca Bennett said, ‘‘Horror stories seem to have gotten the most buzz online. We love seeing how differ­ent types of horror (cosmic, body, psychological) can work within a relationship. Next year we’d love to see more overtly weird fiction. In 2025 we will start applying for Canadian Arts grants, which will determine if our pay rate increases.’’ There were 276 subscribers, 10% of which were paid subscribers, with around 30-40 print cop­ies sold. They accept works from international writers but aim for a percentage of Canadian content. Pay rate was C$0.08/word for fiction, up from C$0.01/word, C$60/poem. Price was $12.99 print, $5.99 electronic. [Semiprozine]

Grimdark, <grimdarkmagazine.com>, pub­lished four issues with 25 stories, around 70% originals, focusing on ‘‘the grittier nature of peo­ple in futuristic or fantasy settings.’’ Founder and editor-in-chief Adrian Collins said, ‘‘Without a doubt, the first half of Scott Lynch’s ‘Locke Lam­ora and the Bottled Serpent’ published in our massive 10th anniversary edition (#40) created the biggest reaction, and we can’t wait to publish the second half of that story in January…. One of our big goals for next year is to increase the pay rate, and to publish the rest of the stories we picked up out of our 2024 open window.’’ Collins reported 100,000 website views, noting ‘‘Amazon changing its affiliate linking at the start of the year breaking 8-10k links on the site’’ as one of several challenges. They sold ~1,500 ecopies and have ~350. Pay was A$.07/word for original fic­tion, A$.01 for reprints. [Semiprozine]

There were two print issues of DreamForge Magazine, <dreamforgemagazine.com>, also electronically as four quarterly issues of Dream­Forge Anvil, <dreamforge.mywebportal.app>, with 21 original and two reprint SFF stories, and two poems. The online/digital version offers extra articles on writing, science, and futurism. All stories were also made available free online through a reader portal. Publisher and editor Scot Noel said, ‘‘In 2024 we celebrated our 5th year of publication. Our theme was ‘The Grand Uplift.’ In 2025 our theme is ‘Each and Other.’ We’re always looking for stories where the Hu­man Adventure is just Beginning. Our main support for DreamForge comes from Kickstarter with 133 backers in 2024 and Patreon with 103 supporters…. Our print numbers are under 200, including what we mail out directly and individ­ual purchases from Amazon.’’ Print issue price was $16.25-$16.99 through Amazon, digital sub­scription was $17.99/for one year access to eB­ook formats for the current year and all online content including previous years, or $3.25/eb­ook. Patreon supporters at $3/month and above get the same access, plus all digital back issues in eBook format. Pay rate was $.08/word for new fiction, $0.04/word for reprints, $75 to $100 for poetry. [Semiprozine]

Baffling, <bafflingmag.com>, published 31 original flash stories in four online issues, plus a print anthology of the year’s content. Published by Neon Hemlock, the magazine is edited by dave ring; Kel Coleman was co-editor for issues 13 through 16. Ring noted stories ‘‘Monologue’’ by Kengo Nelson, ‘‘Notes on Genocidal Inter­chronological Incursion 57.7.3 (f.k.a. ‘Friends’)’’ by Sam J. Miller, and ‘‘A Spell Forgotten’’ by P.H. Low as the most visited stories on the site for 2024. They see 20,000 visitors/year, with 15,000/year uniques, and have just under 40 patrons. Pay was $.08/word. [Semiprozine]

Three-Lobed Burning Eye, <www.3lobedmag.com>, edited by Andrew S. Fuller, published 12 original stories in three online issues and a print anthology. Fuller said, ‘‘2024 was our 25th year, and a good year for us, with more submissions than ever before, and our editor met six past contributors for the first time at StokerCon. We moved to a new submission system that should make the process work more efficiently. After a successful Kickstarter, we will be raising our pay rate to $.08/word, and adding more stories to each issue, which means the print anthology will move to yearly publication. Characters in this year’s stories encountered the unknown, and either explored and embraced the strange­ness, or fought against it – to escape with scars, or succumb to the unnatural forces. These stories danced with multiple genres, dark fictions with elements of horror, mystery, and science fiction. We want more horror, more battles against the darkness we all feel. We always want to see more BIPOC stories, more pre-colonized and de-colo­nized fiction, trans and transgressive narratives, voices that are not heard enough. Particularly enjoyed stories this year by Ann LeBlanc, Ava Margariti, Jordan Kurella, Nkone Chaka, Shel­ley Lavigne.’’ They had 1,500 visitors/month, 200 PDF purchases, and 300 newsletter subscribers. $100/short story, $30/flash fiction. [Semipro­zine]

Mysterion, <mysteriononline.com>, edited and published by Donald S. Crankshaw & Kris­tin Janz, published 14 original stories in blog format. ‘‘In 2025, we plan to start offering indi­vidual ePub issues for purchase (6 issues/year), as well as continuing to publish the stories on­line. We’d like to see more stories that are not about Catholic priests, more science fiction (we see mostly fantasy), more optimistic stories, more stories about Christians in Africa, Asia, and Latin America.’’ Pay was $.08/word for originals, $.04/word for reprints, with 690 av­erage unique visitors per month and 2,100 hits per month. [Semiprozine]

Cosmic Roots and Eldritch Shores, <cosmic-rootsandeldritchshores.com>, edited by Fran Eisemann, published ten original stories, a book review, and benefit anthology To Ukraine, With Love. ‘‘For 2025 I hope we’ll publish more sto­ries, more poetry, work on more book projects, and get back to podcasting. Our Kepler Award winners probably hot the strongest response. I’d like to see more hard science fiction stories.’’ ~5,000 uniques/month, about 277 subscribers, and pay was $.08/word for original fiction, $.02/word for reprints. [Semiprozine]

Solarpunk, <solarpunkmagazine.com>, ed­ited by Brianna Castagnozzi, Justine Norton-Kertson, et al, published 13 stories in six digital issues, plus poetry and non-fiction. Pay for short fiction was $.08/word. [Semiprozine]

There was one inaugural reboot issue of Gal­axy Science Fiction, <galaxysf.com>, issue #263, also from Starship Sloane Publishing Company, Inc., with five original stories, and six poems, 14 x 21.5 cm, perfect bound with glossy color cov­ers and b&w interior, 76 pages. Justin T. O’Conor Sloane was editor in chief, with deputy editor-in-chief Jean-Paul L. Garnier. Sloane said, ‘‘Galaxy Science Fiction will live again as a paying venue at the SFWA pro rate of eight cents a word. New work only except for reprints from Silverberg.’’ Eighty-three print copies sold, with website hits at 1,100 average/month. Pay rate was $0.08/word for fiction, $25/poem. Price was $9.99 print, with a PDF available free online. [Not yet eligible]

Lady Churchill’s Rosebud Wristlet, <small­beerpress.com/lcrw>, produced two saddle-stitched, oversize chapbooks with b&w interiors, one with a color cover and the other b&w, 56-57 pages, with nine pieces of original short fiction, ten poems, and some non-fiction. Print and eb­ook subscriptions per issue averaged 315 and 60 respectively. Co-editors were Gavin J. Grant & Kelly Link. Grant said, ‘‘We’re getting more no­vella submissions perhaps due to Sarah Langan’s novella ‘You Have the Prettiest Mask’ published back in LCRW 42 in 2020. We have one, ‘Pome­granate Hearts’ by Dora Holland, in the current issue (#49) although in general I don’t think of LCRW as a great market for them as they have to really capture us to replace a number of other shorter stories.’’ Cover price was $6.00, $3.99/eb­ook. Pay rate was $.03/word, $25 minimum, and $10/poem. [Semiprozine]

There was one issue of Planet Scumm, <www.planetscumm.space> electronically and in print, 14.5 x 21 cm with matte color cover and b&w interior, 115 pages, with nine stories. Editor-in-chief was Anna Catalano, with managing editor Tyler Berd, who said, ‘‘The major update is that the magazine is back under original manage­ment and getting ready to open at the pro-rate for the first time at the end of the month.’’ Cover price was $14.00/print, $10.00/ebook. Pay rate was $0.06/word. [Semiprozine]

We saw four issues of On Spec, <onspec.ca>, a Canadian print and electronic digest, 126-144 pages, perfect bound, with 41 original short sto­ries, 16 poems, and assorted non-fiction. Semi-gloss covers ranged from a steampunk killer whale to a regal archer reading a book with a dragon. Diane L. Walton was managing editor, and The Copper Pig Writers’ Society was pub­lisher. Walton said, ‘‘As a Canadian magazine, On Spec has been supported by arts grants from our provincial funding body, the Alberta Foun­dation for the Arts. Up to recently, the combi­nation of grants plus subscriber income plus donations has sustained us as a print magazine. But grants have been reduced in recent years for all magazines and book publishers in our sec­tor. The most recent grant fell far short of our needs, and we anticipate having to launch more aggressive fundraising to get us through 2025 as a print magazine…. We will be open to new submissions by the end of the year, and upcom­ing authors include Chadwick Ginther, Brian Hinson, Hugh A.D. Spencer, Danica Klewchuk, Robert Harpold, Tehnuka Ilanko, and others.’’ Print run per issue was 500 to comply with grant requirements, with a print subscriber base stable at around 300, available in PDF, mobi, and epub from Weightless. Print cover price was C$6.95, less for subscribers; $4.99/eb­ook. Pay rate was C$.05 and $100 per poem. [Semiprozine]

Apparition Lit, <appari­tionlit.com>, ‘‘strange, mis­shapen stories with enough emotional heft to break a heart,’’ closed permanently af­ter a seven-year run. Owners/senior editors were Rebecca Bennett, Clarke Doty, Amy Henry Robinson & Tacoma Tomilson. They published 17 original stories in four is­sues plus poetry. ‘‘We had the funds to continue the maga­zine, we didn’t have the drive anymore…. Our site will re­main active for as long as pos­sible so that folx can re-read or discover our library.’’ Pay was $.05/word for fiction, $50/poem and flash. [Semiprozine]

Fusion Fragment, <fusionfragment.com> produced four 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 (with plans to switch to digest size in 2025 for cost reasons), 140-150 pag­es, with 10 novelettes and 26 short stories, 33 of which were originals. Editor Cavan Terrill said, ‘‘Circulation was at a record high again this year, with unique downloads about 30% higher than last year. Revenue is the same story, our best year ever by about 30%, although it still only recoups about 10% of our annual budget. My top five sto­ries of the year (in no particular order): ‘‘Show Goes On’’ by Louis Evans, ‘‘What Happened at the Pony Club’’ by Fiona Moore, ‘‘Bennamin Gorgeous’’ by Bree Wernicke, ‘‘Elizabeth Yu Is a Universal Constant’’ by Sydney Paige Guerrero, ‘‘Stone Test’’ by Catherine Forrest. One thing I’ve been really happy about this past year is seeing past and present members of our reading team having professional success: Michelle Kulwicki and Hien Nguyen have debut novels released or on the way, Uche Nwaka won a Locus Award(!), and we had folks score first pro story sales, first ever story sales, get shortlisted for the WSFA short story award, get shortlisted for the CBC short story prize (it’s a big thing here in Cana­da), get accepted into residency programs, etc.… [W]e also kicked off Saros Speculative Fiction…, a guest-edited sister magazine with the aim of letting those interested take the reins on pretty much every single aspect of editing a short SFFH mag.’’ Total digital downloads were at 1,091, up from 805 last year, plus Patreon subscribers and 17 print copies sold. Pay rate was C$0.04/word up to C$400 maximum. [Semiprozine]

Bourbon Penn produced three perfect-bound issues, 12.75 x 20 cm, 158-164 pages with color, matte covers and b&w interiors, with 22 origi­nal stories and one reprint, also available in eb­ook and for free at <www.bourbonpenn.com>. Covers were excellent quality, from a tentacular vintage lady to an eerie wall painter. Editor Erik Secker said, ‘‘2024 was a good year. In addition to publishing new fiction from the likes of Brian Evenson, Jeffrey Ford, and Alex Jennings, we also had three different stories appear in three differ­ent Year’s Best anthologies. The business side remains challenging (we did quite a bit of scrambling when our long-time printer tripled their prices), but if we can get about 25 new Patreon subscribers in the coming year we should be able to raise our payment rates once again. We’d always like to see more really well done humorous stories. I know I could use a few more laughs.’’ Print cover price was $14.95-$14.99; ebook $2.99. Pay rate was $.04/word. [Semiprozine]

Translunar Travelers Lounge, <translunartraveler­slounge.com> edited by Ai­mee Ogden & Bennett North, published 24 stories in two digital issues. In January 2024 Ogden announced that she was leaving the magazine, having been there for five years, due to burnout and personal life changes. Pay was $.03/word with a $20 minimum. [Semi­prozine]

Shoreline of Infinity, <www.shorelineofinfin­ity.com>, based out of Scotland, published 18 original stories plus poetry in one regular and one special Worldcon issue, 128 pages, in print and electronic formats. Editor-in-chief Noel Chidwick said, ‘‘Worldcon Glasgow 2024 was our highlight this year, welcoming thousands of visitors to Scotland. Shoreline of Infinity ran a dealer table (next to Locus’s, no less), and for five days we talked with SF fans from all over the world who were impressed to see what Scotland could do, making new friends and putting faces to email addresses from writers and readers. This year we were honoured to receive the Brit­ish Fantasy Society award for best journal/maga­zine. SF Caledonia is slowly growing, and we published 27 reprints from Scottish authors plus two tabloid newspaper format issues of ‘The SF Cale­donian’. Print run for each was 400: <sfcaledonia.scot>.’’ Upwards of 400 print copies and 150 digital issues of Shore­line of Infinity were sold, with around 100 subscribers. Print price was £8.95, up from £7.95, digital was £3.95, with about 3,000 unique website visitors monthly. Pay rate was around $.03/word. [Semiprozine]

We saw the inaugural re­boot issue of Worlds of IF, <worldsofifmagazine.com>, issue #177 with seven stories, five of which were reprints, and ten poems, 14 x 21.5 cm, perfect bound with glossy color covers and b&w inte­rior, 78 pages, published by Starship Sloane Pub­lishing Company, Inc. Justin T. O’Conor Sloane was editor in chief, with deputy editor-in-chief Jean-Paul L. Garnier. Sloane said, ‘‘When our debut issue was published, it marked the 25th year that Worlds of IF will have been in publica­tion since 1952. Worlds of IF was a magazine for experimentation, taking chances, and trying out new writers. That approach appeals to me and it’s what we’ll be doing – both by design and ne­cessity. The excitement with which the relaunch was met far exceeded any expectations we might have had.’’ Ninety-one print copies sold, with website hits at 500 average/month. Pay rate was $0.03/word for fiction, $15/poem. Price was $9.99 print, with a PDF available free online. [Not yet eligible]

New Myths, <newmyths.com>, published 32 original stories plus poems and non-fiction in four online issues. Susan Shell Winston was editor, with editor and publisher Scott T. Barnes. Barnes said, ‘‘We like to publish originality and variety. Each issue represents an eclectic mix. While NewMyths decided to accept AI-gen­erated stories at the same pay rate as human-authored stories if the authors labeled them as such, we have received no AI submissions in the past 12 months. Zero. That has to be good news, right? The Growers, a SFF anthology celebrating farmers and other producers, will be published in early 2025. A second anthology, Janus Gates, will come out late 2025.’’ Pay was 3 cents/word, minimum of $50. They had ~10,000 hits per month, with 500 ‘‘dedicated readers’’ per month. [Semiprozine]

We saw two issues of Weird Horror from Un­dertow Publications, <weirdhorror-magazine.com>, available in print and digital editions and free online, with 21 original stories, 15 x 23 cm with glossy color covers and b&w interiors. Pub­lisher and editor in chief Michael Kelly said, ‘‘We had great responses again to the more experi­mental, less traditional works, the stories that were either less overtly genre or quite absurd and surreal. Readers loved ‘Black Water’ by Sean Padraic Birnie. We would, as always, welcome more submissions from the more marginalized and historically disadvantaged community of writers.’’ Each issue sold about 750 copies com­bined print and digital, with print taking up about 60% of that, and the web­site averaged 1,500 unique visitors per month. Pay rate was $0.02/word with a $25 minimum, up from $0.015/word. [Semiprozine]

Interzone and IZ Digi­tal <interzone.press> are UK electronic-only genre publications published by MYY Press. Editor was Ga­reth Jelley. Four issues were published with 28 original short stories and some non-fiction. Cover price was €5.00/ebook. IZ Digital is Interzone’s free sister ’zine, with stories, reviews, and interviews online at <interzone.digital>. IZ Digital published ten original stories in 2024, all with original com­missioned art. MYY pay rate was €.015/word. [Semiprozine]

Kaleidotrope, <www.kaleidotrope.net>, a quar­terly, published 48 original stories in four online issues plus poetry. Editor Fred Coppersmith said, ‘‘I saw some very lovely reviews this year for stories that obviously connected with read­ers–from Erica L. Satifka’s ‘Woke Up New’ and Phoebe Barton’s ‘Climbing the Mountains of Me’ (Winter), to Zoe Kaplan’s ‘The Witch Who Lives Next Door’ and Julia August’s ‘Charybdis’ (Spring), to Kelsea Yu’s ‘Creature’ and Adriana C. Grigore’s ‘And the Daisies Were to Blame’ (Sum­mer), finally to Mar Vincent’s ‘Cold as Bones’ and Ramez Yoakeim’s ‘Rise Again’ (Autumn).’’ Pay was $.01/word, $5 for poetry, $60 for art­work. [Semiprozine]

Australian Andromeda Spaceways, <andromeda-spaceways.com>, run by Tom Dullemond, Sa­mantha Ryder, and Joel Shanke, published four online issues with 37 original stories plus poems. ‘‘We had a good range of submissions, and are ramping up for our 100th issue in Q3 2025! Our method of having individual editors selecting their stories (from the submission reader ‘final’ selections) has continued to work well. We have a varied and eclectic range of stories and our readers seem to enjoy it.’’ Pay for short fiction was A$.01/word up to 10,000 words and A$10 for poetry. [Semiprozine]

Space and Time, <spaceandtime.net>, pro­duced two print and electronic issues with 29 original short stories, plus poetry and assorted non-fiction. Print issues were full-sized with color gloss covers and b&w interiors. Angela Yuriko Smith & Ryan Aussie Smith were co-publishers and Angela Yuriko Smith was editor-in-chief. Yuriko Smith said, ‘‘In 2024, Space and Time magazine reached significant milestones that have been a few years in the making. We achieved one of our most ambitious goals: the launch of our interactive online archives, where readers can explore every issue from 1966 to the present. This feature is enhanced with exclusive news items and video interviews, bringing our legacy of speculative fiction to life in a whole new way. We successfully funded a Kickstarter in the first week for Space and Time: Celebrat­ing 50 Years of Speculative Fiction, a com­memorative history book set to be published in 2026 in celebration of our 60th consecutive year of publication. In October we established a thriving community through the Authortunities Hub, implementing a dynamic flywheel publish­ing system. In just two months we’ve grown to 200 members with open mics, storytelling tour­naments and multiple weekly meetings. Stories with positive solutions to current problems real­ly charmed us this year.’’ Cover price was $12.00/print and $3.99 digital. Pay rate was $.01/word for fiction. [Semiprozine]

Hexagon, <hexagonmagazine.ca/>, edited by JW Stebner, published 18 original stories and two comics in four digital issues. ‘‘2024 was a good year! Submissions have increased, likely due to becoming more well-known, appearing on multiple ‘submit to these venues’ lists, and some AI trash mixed in. Climate fiction stories and fantasy stories received our best responses.’’ Pay was C$.01/word. 1,300 visitors per month, with 350 (free) issue downloads and 122 paid subscriptions via Patreon. [Semiprozine]

There was one issue of Wyldblood, <wyld­blood.com/magazine>, a UK-based magazine of ‘‘cutting edge fantasy and science fiction,’’ avail­able in print and electronically, with 12 short stories in one issue. There were an additional 19 flash stories (digital only) on the website. Print was 17.78 x 25.4 cm, perfect bound, with glossy color covers and b&w interior, 83-90 pages. Editor Mark Bilsborough said, ‘‘Character based stories work best for us, and we’ve seen some great ones this year. Tiffani Angus, Kai Delmas and Michael Teasdale (amongst others) gave us standout fiction.’’ Pay rates were £0.01/word, £100 flat rate for novellas. Price was £7.50 print, £3-£4 electronic. [Semiprozine]

GigaNotoSaurus, <giganotosaurus.org>, was founded by Ann Leckie, who recently turned over ownership to editor LaShawn M. Wanak. They published 12 original fantasy or SF pieces online. Under Wanak’s editorial stewardship, GigaNotoSaurus was a Best Semiprozine Hugo finalist in 2024. ‘‘Our top five stories viewed in 2024 are ‘The Fake Birdhouses of Springville’, ‘Underdragon’, ‘Lacquer Cabinet Trick’, ‘The Nine Lives of the Door Spirit’, and ‘Here in the Glittering Black’. I’d also add ‘Dead Reckoning in 6/8 time’ as an amazing story.’’ They averaged 1,166 visits/month, with 2,713 hits per month, and 1,174 ebook downloads. Pay rate was $200/story. [Semiprozine]

Heroic Fantasy Quarterly, <www.heroic-fan­tasyquarterly.com>, published 12 short stories, including one reprint, plus poetry and comics in four digital issues; plus a print and digital ‘‘best of’’ anthology. Editor Adrian Simmons said, ‘‘We didn’t seem to get inundated with AI generated stories like some markets. In fact, with so many new sword and sorcery and adventure fiction markets having come out in the last few years, our overall submissions were down. That said, the quality of the submissions we did received was pretty high. C.D. Crabtree’s ‘Axandrjo the Silvernosed Vagabond’, seemed to strike a chord with people, as did H.R. Laurence’s ‘The Iron Serpent’.’’ Pay was up to $100 for fiction, up to $25 for poems, depending on length. [Semipro­zine]

James Gunn’s Ad Astra, <www.adastrasf.com>, ‘‘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 get back to two issues per year in 2025, with #15 coming out February 1st. In the coming year, a new editor will also join us to lead our Scholarly section and publish original research articles. For the most part, we publish science fiction but usually have one fantasy story per issue.’’ Pay was $50/story. [Semiprozine]

Omenana, <omenana.com>, speculative fic­tion ‘‘from Africa and the African Diaspora,’’ published 19 original stories and one reprint in regular online issues, plus another seven re­prints in translation to Portuguese. Cofounder and managing editor Chiagozie Nwonwu said, ‘‘For 2025, we are hoping to move to a paying subscription model and hopefully get the maga­zine to place it can fund itself and the editorial team. African Futurism is really taking off and we are seeing more writers experiment with the sub-genre of science fiction. We hope to see more of this in 2025. Nkereuwem Albert, Valerie Chat­indo and Chantelle Chiwetalu are some of the au­thors we are looking to see more work from. Al­bert’s ‘Koko’s Body’ is one of our favourite stories. We also managed to get some more established writers from the continent to contribute to our anniversary edition. Yes, is 10 years this year.’’ Pay was 20 dollars per story. Nwonwu reported ~500 unique visitors/month. [Semiprozine]

There was one issue of Alien Dimensions, <aliendimensions.com>, perfect bound with 224 pages, 15 x 23 cm, with a glossy color cover and b&w interior, including 12 original short stories. The magazine was available in ebook and POD. Editor was Neil A. Hogan, who said ‘‘Alien Di­mensions will be ‘rested’ for a couple of years, af­ter issue #27 is released in March 2025, to give the editor time to complete his PhD. Alien Dimen­sions may return in 2027.’’ On average the website receives 4,000 unique visitors/month. Regular print issue cover price was $13.99, ebook $6.99. Ebooks were available free with subscription to Kindle Unlimited. Pay rate was $20 per story. [Semiprozine]

Luna Station Quarterly, <www.lunastation­quarterly.com/>, run by publisher and editor-in-chief Jennifer Lyn Parsons, has an ‘‘on-going mission… to display the vast and varied talents of female-identified speculative fiction writers.’’ They published 58 original stories plus five re­prints in four quarterly issues. ‘‘2024 was inter­esting for us! We removed our online archive to protect our authors from AI bots and received a lot of support from the community for the de­cision. We also have now stopped accepting re­prints, because we have so many originals that we don’t want to miss out on featuring new stories for our readers. In the next year, we would like to continue seeing stories of hope and resilience.’’ Pay is $10/story. They sold ~200 digital issues and ~100 print issues. [Semiprozine]

Speculative City, <speculativecity.com>, ‘‘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 in one issue. Meera Velu is editor-in-chief. ‘‘Our interview with Samit Basu got a good response. Hoping to publish more works that can act as a palliative for those confronting the many socio-political turmoils across the globe. Saw a number of our authors from previous issues published new novels this year! Which is always exciting. Those authors are M.M. Olivas, Donyae Coles, Lindsay King-Mill­er.’’ Pay was ‘‘$20-$55’’ with site traffic ‘‘anywhere from 70-200 hits a week.’’ [Semiprozine]

Australian Aurealis, <aurealis.com.au>, pub­lished 28 original stories and two reprints in ten digital issues. Editor Dirk Strasser said, ‘‘2024 was an exciting year for us where we partnered with Celsius 232, the Spanish SFF festival and their Spansion project which involved translated story swaps culminating in our Spanish-themed issue. 2025 is looking to be even bigger with the 30th anniversary celebrations of the Aurealis Awards and our first Blast-from-the past classic issue available free for a limited period. Strong stories with interesting ideas always get the best responses. Our Spanish-themed issue #172 re­ceived a particularly good reaction. Dystopias, or at least bleak futures, are still going strong and show no signs of faltering. We would like to see more laugh-out-loud funny sto­ries.’’ Pay rate was A$.02/word. Parent company Chimaera Pub­lications also ran the Aurealis Awards. [Semiprozine]

Non-profit Electric Spec, <www.electricspec.com>, pub­lished four scheduled electronic issues with 20 original stories. Editors were Lesley L. Smith, Candi Cooper-Towler & Gray­son Towler. Pay was $20/story. They had ~5,807 hits/month with ~3,973 unique visitors/month. [Semiprozine]

In poetry, we received three issues of Dreams & Nightmares, <www.dreamsandnightmares­magazine.com>, saddle-stitched with semigloss cover covers and b&w interiors, 93 original poems, priced at $5.00 (less for subscribers) for print, or $1.00 per PDF edition. Editor was David C. Kopaska-Merkel, who said ‘‘I see a lot of poems that are straight horror, and this is a very hard sell with me. I also prefer things that are relatively short. If they fit on one digest size page that is ideal, but I do pub­lish longer pieces.’’ About 80 print copies and 20 PDFs were sold per issue. Pay rate was $15/poem, story, or art. [Semiprozine]

Star*Line, <www.sfpoetry.com/starline.html>, the journal of the Science Fiction and Fantasy Po­etry Association, produced four saddle-stitched issues at 14 cm x 21.5 with color semigloss cov­ers and b&w interiors, priced at $5.00 for print and $2.50 for PDF, with 360 original poems, four interviews, four articles, and many book reviews. There were 310 digital subscribers and 146 print subscribers. Pay rate was $.04/word, minimum $4.00. Editor Jean-Paul L. Garnier said, ‘‘2024 was an excellent year filled with wonderful poetry from all over the world. Starting with the spring 2025 issue Jean-Paul L. Garnier will be handing over the editorship to John Reinhart.’’ The SFPA also published 81 poems in Eye to the Telescope, a quarterly online speculative poetry journal with a different theme and editor each issue, <www.eyetothetelescope.com>. [Semiprozine]

In other print, we saw two issues of sword & sorcery magazine New Edge, a special one-time anniversary revival issue of New Worlds in honor of Michael Moorcock, and the debut issue of new magazine The Skull & Laurel, a ‘‘magazine of New Weird fiction.’’ For genre-literary crossovers, we saw one issue each of Conjunctions and Rainy Weather Days with works of genre interest, and a utopia-themed issue of Room, guest-edited by Augur. There were four issues of Boundary Shock Quarterly, two issues of Weirdbook, and one issue each of Cemetery Dance, Tales from the Magician’s Skull, and Vastarien, though we did not see these magazines. There were no new issues of Under­land Arcana in 2024.

For electronic-only publications, Bards & Sages has closed permanently this year. No issues were seen from Frozen Wavelets. There was one issue of Neo-Opsis, but we did not see it. After the 2023 closure, Fantasy magazine relaunched in 2025, edited by Arley Sorg and Shingai Njeri Kagunda, having changed hands from Adamant Press to new publisher Psychopomp.

In other print, we saw two issues of sword & sorcery magazine New Edge, a special one-time anniversary revival is­sue of New Worlds in honor of Michael Moorcock, and the de­but issue of new magazine The Skull & Laurel, a ‘‘magazine of New Weird fiction.’’ For genre-literary crossovers we saw one issue each of Conjunctions and Rainy Weather Days with works of genre interest, and a utopia-themed issue ofRoom, guest-edited by Augur. There were four issues of Boundary Shock Quarterly, two issues of Weird­book, and one issue each of Cemetery Dance, Tales from the Magician’s Skull, and Vastarien, though we did not see these magazines. There were no new issues of Underland Arcana in 2024. For electronic-only publications, no is­sues were seen from Frozen Wavelets. There was one issue of Neo-Opsis but we did not see it.

PODCASTS /AUDIO FICTION

The Escape Artists Foundation is a non-profit podcast network consisting of five shows (Escape Pod, PodCastle, Pseudopod, Cast of Wonders, and CatsCast). All five markets pay $0.08/word for original fiction, $100 for reprint fiction, and $20 for reprint flash fiction. ‘‘We pay every sin­gle person involved in our episodes…from slush readers to senior editors.’’ <escapeartists.net/>.

FANCASTS

Functional Nerds, <www.functionalnerds.com>, in which author/blogger Patrick Hester and au­thor/teacher Tracy Townsend discuss science fiction and fantasy media and fandom, posted 38 episodes in 2024. Episodes included interviews with authors, editors, and fan figures, as well as discussions of pop culture topics from Dungeons & Dragons to Brandon Sanderson. [Fancast]

The Coode Street Podcast, <jonathan-strahan.podbean.com>, with hosts Jonathan Strahan & Gary K. Wolfe, published 30 episodes in 2024. The podcast received its 11th nomination for the Hugo Award for Best Fancast. Gary K. Wolfe comments that in addition to a roster of notable guests, ‘‘an episode recorded live before an audi­ence at the Glasgow Worldcon featured Joe and Gay Haldeman and John Scalzi celebrating the 50th anniversary of Haldeman’s The Forever War.’’ Downloads averaged 1,000-2,000 per episode. [Fan­cast]

Geek’s Guide to the Galaxy, <geeksguideshow.com>, hosted by David Barr Kirtley, ‘‘features conversations about fantasy & science fiction in books, movies, games, and comics, as well as related subjects such as science, history, and critical thinking.’’ The show published 27 episodes in 2024, including discussions of recent shows/movies and clas­sic works by Gene Wolfe, Roger Zelazny, and others. [Related Work]

Our Opinions Are Correct, <www.ouropinions-arecorrect.com>, hosted by Charlie Jane Anders & Annalee Newitz, produced 22 episodes of deep dives into SF books, movies, television, and comics, in addition to interviews with genre authors and screenwriters. Anders says: ‘‘We’re very proud of the episodes we released in 2024. We had episodes about book bans, psychological warfare, the Turing test, loneliness and microag­gressions.’’ Average downloads per episode were 5,000-6,000. [Fancast]

The Skiffy and Fanty Show, <skiffyandfanty.com>, with main hosts Shaun Duke & Brandon O’Brien, covers science fiction and fantasy, from interviews to ‘‘Torture Cinema,’’ a series of bad-movie discussions. They published 42 public epi­sodes in 2024 (ending on their 800th episode), plus more on Patreon. Shaun Duke says: ‘‘It was an unusual year (though we keep having unusual years, so maybe this is normal now),’’ and high­lighted 2024 as a huge period for the show’s blog. Skiffy and Fanty also launched new subshows: Mining the Genre Asteroid, which covers old SFF, and SF at School, in which experts on outside fields comment on genre media. Duke reported 500-1,000 listeners and 1,800-2,300 listens a month. [Fancast]

Writing Excuses, <www.writingexcuses.com>, produced 52 educational episodes by writers for writers, on various topics in genre story construc­tion. It is hosted by ‘‘core cast’’ of Mary Robinette Kowal, Erin Roberts, DongWon Song, Howard Tayler, and Dan Wells. This year, episodes includ­ed interviews with authors, units on Pacing and Structure, discussions of NaNoWriMo, and other topics. [Related Work]

Worldbuilding for Masochists, <worldbuild­ingformasochists.podbean.com>, is a podcast that ‘‘delve[s] into the intricacies of building a fantasy world from the ground up,’’ hosted by Natania Barron, Cass Morris, & Marshall Ryan Maresca; it produced 26 episodes. The team commented, ‘‘It was a great year… We released the anthology Traveling Light…. In Glasgow for Worldcon, [we] recorded a live episode, and we were in second place for the Hugo for Best Fan­cast…. We’re looking forward to an exciting new year!’’ Episode downloads were 15,000/month, which each episode averaging 1,500 downloads. [Fancast]

Eating the Fantastic, <www.scottedelman.com/wordpress/tag/eating-the-fantastic/>, in which listeners ‘‘eavesdrop on [host Scott Edel­man’s] meals with the creators of science fiction, fantasy, horror, comics, and more,’’ celebrated its ninth year. There were 28 episodes published, in­cluding interviews with Sarah Pinsker and Jenny Rowe, creator of the show on James Tiptree Jr./Alice Sheldon, No One Else’s Damn Secret But My Own. Edelman said, ‘‘I don’t think anyone will mind knowing my most popular episode of the year was the one on which Chuck Tingle and I shared tea and scones.’’ Monthly downloads av­eraged 1,200-1,400.

Breaking the Glass Slipper, <www.breaking-theglassslipper.com>, is an intersectional femi­nist podcast ‘‘to celebrate the wonderful con­tribution of women to speculative fiction.’’ It produced 12 episodes this year. Hosts are Char­lotte Bond, Lucy Hounsom & Megan Leigh. Epi­sodes included author interviews on topics like ‘‘the poetry of space’’ and ‘‘obsessional love and vengeance.’’ [Fancast]

Hugo, Girl!, <hugogirlpodcast.com>, in which hosts Lori, Haley, and Amy (with Kevin on production) ‘‘read, dissect, and rant at Hugo Award-winning pieces of fiction,’’ produced 15 episodes. The team commented: ‘‘Redfern Jon Barrett joined us in October to discuss [Ursula K. Le Guin’s] The Dispossessed, which was our most popular episode.’’ In 2023, Hugo, Girl! won the Hugo for Best Fancast, and the team recused themselves from future nominations; however, following revelations of administrator miscon­duct that compromised the validity of the 2023 Hugos , the podcast retracted this recusal. Aver­age downloads per month were 1,500. [Fancast]

Fangirl Happy Hour, <www.fangirlhappy­hour.com>, a podcast ‘‘on the intersections of fandom, literature, and culture,’’ rebooted and started from Episode One after a break. The show produced three episodes in 2024, including an awards discussion. The current host is Renay, editor of Lady Business. [Fancast]

Octothorpe, <octothorpe.podbean.com>, ‘‘a podcast about science fiction and SF fandom from John Coxon, Alison Scott, and Liz Batty,’’ produced 26 episodes in 2024, starting with the show’s 100th episode. At the 2024 Glasgow Worldcon, they received the Hugo Award for best Fancast. (They have recused the show from fu­ture awards.) Episode downloads average 1,000 per month. [Fancast]

CRITICAL MAGAZINES

There were three issues of scholarly journal Ex­trapolation from Liverpool University Press, totaling 377 pages, including a special issue for Liverpool University’s annual Contemporary Re­search in Speculative Fiction Conference. This year, the journal’s essays spanned topics from ‘‘Beyond the Myth of Chinese Ideograms’’ to ‘‘Babylon 5’s Nonmodern Liberalism.’’ Print and PDF available at <www.liverpooluniversitypress.co.uk/journal/extr>. [Related Work]

There were three issues of academic journal Foundation, which ‘‘publish[es] on all aspects of the genre, and on all media,’’ including aca­demic articles, author interviews, conference reports, exhibition reviews, and reviews of both fiction and non-fiction. In 2024, the journal pub­lished obituaries of the late Christopher Priest and Brian Stableford, and special sections on 21st-century cyberpunk and Brian Aldiss’s Bil­lion Year Spree. The journal also announced that ‘‘following the sad loss of our friend and col­league Heather Osborne… Nicole Devarenne and Elizabeth Miller have agreed to join Foundation as editorial consultants.’’ As of 2025, the journal will appear twice a year. <www.sf-foundation.org>. [Related Work]

Two issues of scholarly journal Science Fiction Studies were published by non-profit SF-TH Inc. at DePauw University. The journal featured re­views of non-fiction works and articles on topics ranging from ‘‘Samuel R. Delany as a Genre Fla­neur’’, ‘‘Frankenstein and the Science of Dream­ing’’, Liu Cixin, and Jefferson Starship. The maga­zine was available in print and digital through Project MUSE, with back issue access through JSTOR. The journal announced, ‘‘Beginning in 2025, Science Fiction Studies will be published by The University of California Press. Those seek­ing to continue their subscription should contact them at ucpress@mpslimited.com.’’ <www.de­pauw.edu/sfs> [Related Work]

There were four issues of Australian SF Com­mentary, for a total of 359 pages, with reviews, essays, articles, and tributes. Content included tributes to the late Dick Jenssen (Ditmar) and Suzanne Gai Grigg, retrospectives on Philip K. Dick and surrealist art. Editor and publisher was Bruce Gillespie. Free PDFs were available through <efanzines.com/SFC/#sfc>. [Related Work]

SFRevu published 12 monthly issues, free on­line, with 43 book reviews, 38 short fiction re­views, three manga/graphic novel reviews, SF/F news, essays, and columns. Senior editor was Gayle Surrette. The magazine is currently seeking reviewers. <www.sfrevu.com> [Related Work]

There were two issues of Vector. One, on the theme of ‘‘Speculative Modernisms’’, was guest-edited by Paul March-Russell; the other, ‘‘Com­munity’’, was a special 300th issue edited by Phoe­nix Alexander and Polina Levontin. In 2024, Vector increased its digital memberships; BSFA members also receive digital access to the jour­nal. Nonmembers can access back issues and blog posts online at <vector-bsfa.com/>. [Related Work]

In 2024, there were two issues of Focus, the BSFA’s magazine for writers, edited by Dev Agar­wal, in addition to digital reviews ’zine BSFA Review, the critical journal of the British Science Fiction Association, edited by Ruth Watkins & Stu Carter, and one volume of the digital fiction anthology Fission, edited by Eugen M. Bacon & Gene Rowe. BSFA Chair Dr. Allen Stroud com­ments, ‘‘The 2024 editions of Focus went from strength to strength. Publishing just prior to Worldcon in Glasgow and very recently just be­fore Christmas, the magazine continues to ser­vice would-be writers who are members of the BSFA by assembling the very best advice from industry professionals.’’ Issues are available in print and digital PDF. <www.bsfa.co.uk/focus> [Related Work/Fanzine]

There was one issue of the Journal of the Fan­tastic in the Arts, consisting of critical essays and reviews on a variety of topics ranging from W.E.B. Du Bois’s ‘‘The Comet’’ to John Carpen­ter’s The Thing, with examinations of golems, wendigos, and other creatures. <www.fantastic-arts.org/jfa/> [Professional]

QUALITY

Our gauge for quality is based on our 2024 short fiction Recommended Read list; see chart. We recommended 105 pieces of short fiction, six fewer than last year’s 111. Recommended sto­ries appeared in 26 magazines or online venues, down from last year’s 27. Reactor, previously Tor.com, had the most recommended stories with 12. Lightspeed followed in magazines/fiction sites, publishing 11 stories, followed by Clarkesworld with ten, Asimov’s with nine, Strange Horizons with seven, Uncanny with six, The Deadlands with five, and Fiyah with four. Beneath Ceaseless Skies, Bourbon Penn, and F&SF tied with three. The remaining 13 magazines had two or fewer recommended titles. Anthologies had ten titles, down from 14 last year: Deep Dream: Science Fiction Exploring the Future of Art had four stories; We Mostly Come Out at Night had two; and The Last Dangerous Visions, Northern Nights, Skin, and Thyme Travellers: An An­thology of Palestinian Speculative Fiction each had one. Collections had two recommended sto­ries, one less than last year.

CONCLUSION

Optimistic stories, international and marginal­ized voices, and feminist and translated works are still high on many editors’ wishlists. The overall stress faced by the magazine industry continues, with rising costs and diminishing funding sourc­es, and ongoing fallout from the cancellation of Amazon’s digital subscription program. The re­placement, Kindle Unlimited, has terms so oner­ous some publications have opted out completely, taking the hit now in order to rebuild their sub­scriber base at their own self-funded location. For fulfillment options, Weightless Books is still going strong, thank goodness, and there are some new venues like subscription-based Book Bale. Everyone is working hard to make it happen, and meanwhile there is certainly no dearth of quality fiction. Patreon and Kickstarter continue to be major forces in keeping publications afloat.

We lost a couple of venues: Apparition Lit, Worlds of Possibility, and Bards & Sages closed permanently this year. On the brighter side, after the 2023 closure, Fantasy magazine announced their relaunch in 2025, co-edited by Arley Sorg & Shingai Njeri Kagunda, under a new pub­lisher, Psychopomp. Worlds of IF and Galaxy Sci­ence Fiction rebooted, and there are always new magazines forming, no lack of optimism and enthusiasm (and maybe some magical thinking). It seems you can’t keep a good magazine down! Let’s hope this spirit prevails. Knock on wood, the situation with AI seems to have settled down somewhat as editors have some bulwarks in place to defend against the onslaught of autogenerated verbiage.

As we say every year: Please 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, Maya St. Clair, Liza Trombi, with assistance from Bob Blough

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This summary and more like it in the February 2025 issue of Locus.

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