Pitch Us a Column
Pitch Us a Column!
Have an idea for a literary timeline? An opinion on essential texts for readers and/or writers? An in-depth, working knowledge of a specific type of nonfiction? Pitch us your ideas; Creative Nonfiction is now accepting query letters for the following sections of the magazine.
Please note that we are especially--though not exclusively--interested in pitches that overlap with our upcoming themes: Teaching (Spring 2017); Adaptation (Summer 2017); Science & Religion (Fall 2017); Monsters or Dangerous Creations (Winter 2018).
UNDER THE UMBRELLA explores one subset or type of writing that falls under the creative nonfiction umbrella—dad memoir or extreme travel writing, for example, as well as lesser-known kinds of creative nonfiction—and the patterns that connect these types of writing. Examples: CNF's Armchair Guide to Stunt Writing (#38); Family History Narrative (#41); Sex Worker Memoirs (#45).
WRITER AT WORK offers an analysis of or an in-depth look into a specific writer's writing process. Examples: Gay Talese's approach to composition (#39); E.B. White's use of literary effect in "Death of a Pig" (#41).
BETWEEN THE LINES focuses on the business of writing and the contemporary publishing landscape. This section is reserved for more serious, newsy (in a general way) topics. Examples: The future of literary magazines in America (#38); A defense of navel-gazing (#39); The line between documentation and exploitation (#44).
REQUIRED READING catalogues and explores essential texts for nonfiction readers and writers. Pieces can be as simple as a list or as complex as a lyric essay. Examples: David Shields' inspirations and recommendations (#38); Norman Mailer's indispensible nonfiction, as recommended by his biographer (#39); Expanding the essay canon, one decade at a time (#43).
THEN & NOW tracks significant developments in the genre and can include timelines or other creative comparisons. Examples: A history of the genre (and the magazine) from 1993 to 2009 (#38); Environmental writing since "Silent Spring" (#44); Our long-standing obsession with true crime (#45).
LIFE ONLINE provides a unique perspective of what the literary life is like online. Examples: The virtual realities of online advice columnist Sugar (#42); Of online anger, puppy dogs and ice cream (#43); Is online publishing permanent enough? (#44).
AFTERWORDS is the final page of the magazine. We're open to just about any ideas that can be presented completely in one page, though we are more inclined to pieces that take a lighter look at the genre, craft, and/or industry. Examples: First sentences from first books (#38); The ever-expanding nonfiction subtitle (#39); Side gigs for the nonfiction 99% (#45).
Note: Nothing increases your publishing chances more than a familiarity with the magazine; we recommend you become a subscriber, but a working knowledge of our recent issues is a great place to start, too.
Queries only. Please do not send completed pieces. Please do not send attachments. Please send brilliant ideas and a solid plan for turning said brilliant ideas into brilliant pieces of writing.