p.s. does anyone know why exactly Bloodaxe is called thus? It doesn't strike me as exactly the most obvious name for a contemporary poetry publisher.

Since Bloodaxe is based in Northumberland, I guess they are named after Eric bloodaxe, the last Viking King of Northumbria.

From the BBC website.

Eric Bloodaxe is probably one of the best-known names in Viking history, at least in the British Isles. The favoured son of Harald Finehair, who was credited by the Viking sagas (composed mostly in Iceland, in the 13th century) with the unification of Norway, he became king of western Norway after his father. However, when his younger brother Hakon claimed the kingship with the support of Athelstan of Wessex, Eric moved to the British Isles. There he divided his time between raiding in Scotland and around the Irish Sea, and establishing himself as ruler of the Viking kingdom of Northumbria. His death in 954 brought the independence of Viking Northumbria to an end, but his sons later succeeded in establishing themselves as kings in Norway. Eric is mentioned briefly in a number of contemporary or near contemporary sources, and he also left visible traces of his own - in the coinage issued in his name at York. He also features in a number of later sagas, along with his wife Gunnhild, who is generally portrayed as an evil witch. The sagas use the 'Bloodaxe' nickname, and this is generally seen in the context of his Viking raids in Scotland, and his glorious end as the last independent king of Northumbria. Like his near contemporary, Thorfinn Skullsplitter of Orkney, the name Eric Bloodaxe conjures up an immediate image of the archetypal Viking warrior; huge, hairy and heroic, and the proud owner of a large axe.

- NaomiM

<Added>

- I particularly like that last sentence. :)

"huge, hairy and heroic, and the proud owner of a large axe." - I particularly like that last sentence.

Sounds a bit like the lifeboar, don't you think?

Emma

I still think it's a bit left-field, I'd expect them to publish Fighting Fantasy Gamebooks with a name like that... oh well...

It could be worse - imagine if they'd been based in the Orkney Isles

Love the bit about Eric Bloodaxe!

I think it's fine to get your work published wherever you can, irrespective of payment, providing it's in an environment you personally feel comfortable being in. For me this means reading the stories that mag prints, and deciding whether my story would be in suitable company or not. Also, prestige DOES count when it comes to a writer's CV, and prestige doesn't equal money in the lit fic market.

I tend to be cynical about e-zines but that's mainly because I hate reading on screen so never read any of them myself.

Coincidentally, I got an email from Jo Derrick today about a new lit fic mag for women writers she's just launched, and for which she's looking for submissions. Jo used to be Jo Good, editor of QWF.

The new mag is called The Yellow Room but the web site isn't quite up and running yet. I have guidelines if anyone is interested.

I agree, tha ultimately it's where you feel comfortable having your work displayed. I'd love the guidelines please, Daisy, if it's not too much trouble.

Thanks everyone! I really hope no one thinks I'm calling their achievements into question, which wasn't the point of this thread at all.

I just wanted to know more about it, because I've vowed that this is the year I'm going to start getting back into submitting my work, and it's an area that I haven't ever really explored. I've got some short stories that are probably better suited to smaller mags, but I didn't know where to start. It's hard to know, when it's not your normal field, which ones are prestigious and which ones aren't, and whether it's something worth pursuing.

Once again, thanks to all of you. Hope to see you aboard the lifeboar in the not too distant

Hi Daisy, I'd love the guidelines for The Yellow Room, please, if that's all right.

Thanks.

Tiger

I've put the submission guidelines for 'The Yellow Room' in a new thread. Best of luck if you choose to submit.

Thanks, Daisy

Please tell me if this is a stupid question but is there any reason why you shouldn't publish in less prestigious (non-paying) sites and then have a go at the upmarket places later? Although so far I've only had non-fiction published, and it hasn't paid all that well, even print magazines,- 'Of, course, we can't afford to pay contributors' or newspapers - 'Well, of course, as you are freelance we can't pay you', I think the practice and the fact that someone is willing to publish my pieces at all is a) good practice and b) encouraging. I was writing for a website for a year on a promise of pay when the advertising kicked off, and it didn't happen -the whole nature of the site changed. However, the work's there, it's something I can cite, and it beings me other opportunities.

Sheila

Hi Sheila,
I think it depends what you're looking for. It sounds as if you feel that it brings sufficient benefits to you and I understand this.
However, as a freelance journalist I have some serious concerns about this. In particular, if someone actually said to you that you were a freelancer and therefore they weren't going to pay you! Imagine another profession where this would happen? Self employed plumber- sorry, you're done a great job, but we can't possibly pay you!
It causes a problem for those who are trying to make a living through journalism and also, in my opinion, devalues what you are doing. For goodness sakes, if you're worth commissioning, you're worth paying. I do understand that this is difficult for some start up projects, but I feel it encourages people to take advantage of you and your skills.
I think it's very different if we're talking poetry, for example! Also, some publications, as we've discussed before, may offer a lot in the way of prestige. However, my advice, for what it's worth would be to aim high and don't sell yourself short....The NUJ site gives a good indication of what you should expect from different publications. Good luck!

Maybe I didn't express myself well enough. I rang up this editor of a very well known local paper and offered a review I'd already written for the website. I wasn't commissioned as such but I felt it was worth a try because apart from anything else it I's built up a relationship with the fringe theatre and thought they deserved the print publicity. Sometimes staff writers don't have the time.

When I was doing part-time journalism courses I met people who spent up to three years 'work-shadowing' for magazines, ie working for nothing on the off-chance that they'd get a job if someone left or went sick. So much for NUJ rates!

Sheila

Glad you got publicity for your cause. As I said before, if you felt you gained from it, then good for you, maybe not so good for professional journalists, or those hoping to be?

When I was doing part-time journalism courses I met people who spent up to three years 'work-shadowing' for magazines, ie working for nothing on the off-chance that they'd get a job if someone left or went sick. So much for NUJ rates!

I don't really think that makes it right....It gives editors expectations. Why should they bother paying when someone will do it for free? I realise it's a bit of a vicious circle.
Best,
Antarctic

PS Glad I didn't do a journalism course

Of course it's not right!

To tell the truth, I hadn't really thought much about it before - the fact that one might need a private income, or at least parents willing to provide support during a long apprenticeship. I suppose I tended to think of plucky young reporters with a flair for writing and a taste for adventure. The courses were a real eye-opener for me. The people I mentioned were aspiring professionals and jumped at the chance to contribute for free during their work-shadowing. In fact they were thrilled just to see their bylines in print.

I remember listening to a tape of reminiscences by a man called Deedes -I think he rose to become editor of the Telegraph - and he more or less drifted from Eton to newspaper work because his uncle got him a job. A couple of days ago I heard one of the Dimblebys on Desert Island Discs and he went in because of his famous father. I'm sure there are talented individuals who don't have to train and just get in on merit without the need for the right people to pull strings, but my impression is that they are in the minority.

The courses I mentioned were taught by practising journalists, and I suppose they felt obliged to prepare us for reality. Or maybe they thought it was an overcrowded profession. I don't know. I'm just learning as I go along.

Sheila