How to Launch Your Own Online or Print Writing Magazine

Do you dream of creating a magazine dedicated to showcasing new writing? 

Whether it’s poetry, short stories, essays, or experimental forms, launching your own publication can be both exciting and daunting. 

With careful planning, creativity, and persistence, you can turn your idea into a platform that nurtures and shares fresh literary voices. Here’s a step-by-step guide to get you started—along with tips on where to seek funding.

1. Define Your Vision and Niche

Every great magazine begins with a clear purpose. Ask yourself:

What kind of writing do you want to publish—poetry, fiction, essays, or a mix?

Who is your target audience?

How will your magazine stand out from the many literary publications already out there?

Your niche might be experimental poetry, emerging regional voices, themed issues, or work by underrepresented writers. Having a strong identity will help you attract readers, contributors, and funders.

2. Choose Your Format: Online or Print?

Online magazines are easier and cheaper to set up, with lower distribution costs and global reach.

Print magazines offer a tangible, collectible product and often feel prestigious—but they require higher investment and logistics for printing and mailing.

Some editors start digital-only and introduce a print-on-demand option later. Hybrid models are also popular, offering both web-based and physical editions.

3. Build Your Team

Even small magazines benefit from collaboration. Consider recruiting:

Editors (fiction, poetry, features, etc.)

Designers (for layout and covers)

Social media managers (to promote content)

Proofreaders

If you’re starting out solo, keep things simple, but plan to grow your team as the magazine develops.

4. Set Up Your Infrastructure

For an online magazine, you’ll need:

A website (WordPress, Squarespace, or platforms like Substack or Medium).

A submission system (Submittable is popular, but Google Forms or email can work initially).

Social media channels to connect with your audience.

For print magazines:

Secure a printer (local printers, or online services like Mixam in the UK).

Decide on distribution (direct sales, indie bookshops, events, or subscription-based).

5. Plan Your First Issue

Decide on a theme or open submissions.

Set clear submission guidelines and deadlines.

Reach out to writers—through social media, writing groups, or universities.

Curate carefully: the first issue sets the tone for your magazine’s identity.

6. Consider Your Budget

Running a magazine involves costs: website hosting, domain names, design software, printing, postage, and possibly submission fees. A detailed budget will help you know what funding you’ll need to seek.

7. Finding Sources of Funding

Funding is often the trickiest part of launching a writing magazine. Options include:

Grants and Arts Funding

Arts Council England and equivalents in Scotland, Wales, and Northern Ireland offer grants for literary projects.

Local councils sometimes provide small cultural grants.

Charities or foundations that support literacy and the arts may be open to funding applications.

Crowdfunding

Platforms like Kickstarter or Patreon can help you build a community of supporters willing to fund your project in exchange for perks (e.g. copies of the magazine, name credits, or exclusive content).

Sponsorship and Partnerships

Approach local businesses, bookshops, or universities to sponsor an issue or advertise in your magazine.

Partner with writing groups, festivals, or cultural organisations who may contribute financially or promote your work.

Subscription Models

Offer a subscription service where readers pay a fee (monthly, quarterly, or annually) to access exclusive content or guaranteed copies.

Advertising

Though small literary magazines often avoid heavy advertising, selective ads from publishers, writing courses, or independent bookshops can generate modest income.

8. Marketing and Building a Community

Use social media to share calls for submissions, teasers, and writer spotlights.

Engage with writing communities on platforms like Twitter (X), Instagram, and Facebook.

Attend (or host) literary events, open mics, and festivals to raise your profile.

A loyal community of readers and writers will be your magazine’s strongest asset.

9. Keep Growing

Once your first issue is live, reflect on what worked well and where you can improve. Stay consistent with your publishing schedule, seek feedback from contributors and readers, and adapt as you go. Over time, your magazine can grow into a recognised and respected literary platform.

Final Writing Thoughts

Launching a new writing magazine is no small feat, but with vision, determination, and the right support, it’s entirely possible. Start small, focus on quality over quantity, and don’t be afraid to ask for help—from collaborators, funders, or your community of writers and readers.

Your magazine could be the launchpad for the next great literary voice—why not make that journey happen today?

Liverpool Stylist Launches 'Controversial' Fashion Magazine

Liverpool-based entrepreneur, Anna Grace Du Noyer (PICTURED) has launched a multi-faceted campaign aimed at addressing social inequities through the lens of fashion. The campaign, part of Style Swap Social, a project funded by a £29,000 grant from Merseyside Recycling and Waste Authority (MRWA), has a target to divert 45,000 tonnes of textiles from landfill over the course of a year through innovative campaigns and community events, such as the free clothes swap taking place at Future Yard on Saturday 21st October.

Following a three-month project evaluation by Fierce Futures CIC - the organisation that manages Style Swap Social, the A/W campaign aims to address the underrepresentation of diverse consumers and engage new audiences using data-driven, but controversial, marketing strategies to meet their inclusivity and sustainability objectives.

 Alongside her role as director of the trauma-awareness non-profit, Fierce Futures CIC, Anna Grace Du Noyer, also owns Liverpool-based PR agency Fierce PR, which is spearheading a bold A/W fashion campaign as a form of in-kind sponsorship for their non-profit sister organisation.

The campaign will see a series of satirical, high-fashion print editorials landing in venues across the city in November. 

The limited edition fashion magazine series will include titles such as "Happily Bizarre" (Harper's Bazaar), "Don't Tell Vogue" (Vogue), "i-DGAF" (i-D Magazine), and "Elle Yes" (Elle)—in sleek, edgy designs - typical of the rebellious tactics that have built Anna a reputation as a leading ‘PR guru’ by national publications such as The Express and Marie Claire. 

The campaign has been developed to resonate with fast fashion consumers who are put off by "middle-class” eco-messaging and associated branding, which is unreflective of a large section of fast fashion consumers, as confirmed by data collected in Fierce Futures' recent survey.

"Mostly, eco-fashion campaigns preach to the converted. The colours. The messages. The styles. They use the very fact that the product or service is sustainable as the ‘hook’. While there is value in this - its impact is low. In fact, the majority of people who consume fashion - simply do not connect with those narratives.

Anna continues “This is probably slightly unfair - but you could liken these sorts of campaigns to greenwashing, focusing on vanity metrics rather than meaningful change. We are making a statement that sustainability should go without saying - not be a unique selling point.

“Transformation doesn't happen in an echo chamber. Our A/W campaign is edgy, rebellious, and - perhaps even a little bit cool. It's about fashion, first and foremost. Self expression. But the bonus is - it’s free and doesn't harm the earth or people. Style without barriers - Where no one fits in but everyone belongs.”

Anna continues, "This is very different from anything that's been done before—certainly in this context, with the broader goals of trauma, societal equity, and social mobility."

The multi-faceted campaign features models Mo, an asylum seeker from Libya, and Cheery, a domestic violence survivor from Kansas, both of whom have now found refuge in Liverpool, with lived experience of trauma that is central to the Fierce Futures overall mission.

“On the surface, fashion can seem shallow. But our objectives and methodology run deep, challenging accepted diversity and inclusion frameworks. The human experience is nuanced, and true inclusivity requires a nuanced approach that transcends tick boxes. By getting this right, we can create a culture shift and a ripple effect for social mobility, health, mental well-being—and in turn, economic stability, earning power, innovation, and more. This is huge!”

Final thoughts

"The central premise is that everyone has an equitable standing, fostering a sense of genuine belonging. Fashion is not just fabric and thread; it can be a catalyst for social equity, self-assurance, and upward mobility. By eschewing special provisions or trauma-specific initiatives, we aim to mitigate the risk of reinforcing feelings of unworthiness or exclusion. Our commitment to trauma awareness and true inclusivity extends to understanding the subtleties of the human condition, ensuring psychological well-being, and celebrating individual uniqueness. This approach transcends conventional notions of diversity and inclusion."

STYLE SWAP SOCIAL Styleswapsocial.co.uk

Sat 21 October Future Yard Birkenhead

Sat 18 November Birkenhead Arts Palace

Sat 2 Dec Secret Location Baltic Triangle

Launched in May 2023, the MRWA-funded Style Swap Social project is focused around a year-long programme of events, covering the entire Liverpool City Region. It is bolstered by the development of print and digital resources, and online challenges that promote sustainable style and educate on the impact of fast fashion consumption. The next in-person event is at Future Yard on Saturday, 21 October, and offers "boutique style" clothes swaps, live music, personal styling, and educational workshops.

Accessibility

The multi-layered Style Swap Social events are free and open to everyone, with accessibility considered from an intersectional perspective, breaking down common barriers, economic, mental health, physical health, location, psychological safety, body positivity, associated with 'fashion'. We choose venues that are accessible to wheelchair users. We can offer workshop materials and other content in multiple formats and are happy to communicate via text message, email or phone.

Anybody with specific access needs are encouraged to get in touch on hello@styleswapsocial.co.uk or 07375 833869.

Native Foreigner Announces Digital-only Magazine for Travelers

A new, interactive resource for international travellers returning home.

Native Foreigner, an online community for travellers returning from an extended trip abroad, has just launched the first issue of its quarterly magazine, Native Foreigner Magazine. This digital-only magazine is designed for international travellers who are experiencing reverse culture shock and would like to share their stories, photos and videos from their time abroad. In addition, travellers can connect with one another through the online community at www.nativeforeignermag.com.

Native Foreigner Magazine includes personal travel articles, recipes, photos and information about upcoming events. The digital concept is not only interactive, but it gives subscribers quick and easy access to content. Various versions, including a flip-page design, tablet-friendly versions, downloadable pdfs and text-based articles make it easy for users to choose the format most suited to their needs.

“After returning to the United States after a year-and-a-half living in Costa Rica, I realized that there are very few resources for travellers adjusting to life back home,” says editor-in-chief Lindsay Hartfiel. “Native Foreigner was created as a support community for those international travelers who want to connect with others and share their experiences as they make the transition home.”

In addition to the magazine, Native Foreigner features a blog that is regularly updated with information about ways to cope with reverse culture shock as well as news pertaining to international travel. Travellers can also submit photos, videos and recipes that will be posted online.

FACTFILE:
Native Foreigner was launched in January 2012 as a resource for those returning home after a significant amount of time abroad. Native Foreigner is published quarterly and is the primary resource for returning international travellers. Both single-issue and annual subscriptions are available.

Where to sell your writing

The best writer in the world, if he or she has not established a suitable and lucrative market for their work, still will not become published.

One of the greatest freelance writers in the English speaking world, Dr. Samuel Johnson wrote: “Anyone who writes for anything but money is a blockhead.” Harsh? Perhaps. But remember that Johnson was only able to pay for his mother’s funeral by reportedly writing the novel Rasselas in a period of seven days.

By the way, sending in articles on spec is not necessarily a good idea. By all means think about sending something as a sample of the quality of work you can provide, but most publications would want you to write to them with the proposal for an article, rather than a completed article.

Yes indeed, you CAN make money by writing for the specialist trade press.

What is the specialist trade press? It is an exceptionally large and nebulous mass. It consists of hundreds of thousands of titles, some small, some large, published all over the world and covering thousands and thousands of fields of specialist knowledge.
What subjects are covered? Take the following examples:-
The garage industry, roadside recovery industry, coach tours and coach holidays industry, the bus and coach manufacturing industry, the vehicle salvage industry. And those just happen to be five magazines published by the company I write for!

Much of the work done on specialist magazines is done by freelance writers who have specialised knowledge on a particular subject. My employer uses freelance writers who have shown that they have these special attributes:-

1. They understand the brief they are set.
   2) They can write well and write at speed when necessary. It’s no good “choking” and getting all precious about refusing to work at speed. An article that is perfect in every way yet arrives one hour after the magazine has gone to press is useless. However, an article that is reasonably good and arrives one hour before the deadline is perfect. Why? Because it is there!
   3) Have good contacts in their industry
   4) Understand deadlines and stick with them.
   5) They never question a brief by saying: “Oh, but I wrote an article about this very subject one year ago!” Good. Now's your opportunity to write another article on the same subject! Was the reply I gave to someone who raised this point.
   

In order to be able to write for the specialist press, you have to understand the field that you will be writing about. There are general writers who can turn their hand to writing about almost any subject under the sun. There’s nothing wrong with that. Writers who can turn their hand to researching topics that they might not have heard of before and turning in readable, accurate copy are worth their weight in gold. But there are instances where this type of writer will not be able to get a commission, being overlooked in favour of the writer who has a specialism and a good knowledge of a particular industry or a particular field of endeavour.

For example, let’s suppose that a company that makes a particular type of equipment for the MOT industry has introduced a new type of engine analyser which can do the job in half the time. In order to write a proper article about this new piece of kit, a writer would have to understand a great deal about the garage and MOT industry. He or she might even have worked as a skilled MOT tester themselves before deciding to take up a career as a writer. And there are such writers out there with the specialised knowledge and the ability to write clear, concise copy every time it is required.

What specialist knowledge could you call upon to draw upon to write for the specialist trade press? Gardening? Architecture? Stamp collecting? A particular sport? Coin collecting? Knitting? Fashion? Amateur or professional photography? Sky Diving? Chicken breeding? Horse care? Motoring? Fish keeping? Dog breeding? Industrial metallurgy? Building? Counselling? The employment industry? Taxation?

These are, of course, only a tiny portion of the many types of specialism that us ordinary folk might have.
What could you earn? This depends. Some fields of expertise are so rarefied and esoteric that the magazines that cater for them are read by so few people that the magazines can really only afford to offer modest payments, including or only a complimentary copy of the magazine. Often these magazines, although very well produced to fairly high professional standards, are almost labours of love, with the editorial staff receiving little or no remuneration.

However, some magazines are mass market publications and can afford to pay vastly more to freelance specialist writers than can their poorer cousins.

How much? How long is a piece of string? £100 for 1000 words is a good basis on which to start. However, the fee that you can command will depend upon your abilities to work within the four guidelines I have outlined within this article. And something else.

Let’s suppose that a leading figure in the industry you are writing on is an elusive person who rarely gives interviews and is known for being notoriously difficult to interview. Let’s suppose that you have known him for years and that you both get on very well. If you can approach an editor and say: “I can gain you an exclusive interview with X,” don’t you think that you would be paid substantially more than £100 for 1,000 words? Or that after the successful publication of the article, that the grateful editor would funnel more equally lucrative work your way?

Recently, a new magazine was launched. After the first issue a writer with good specialised knowledge of the field called the managing editor and said: “I want to write for your magazine.” He sent in his CV, was commissioned to write one article as a test piece and his articles are regular and very popular features in the magazine.

Welcome to Be That Writer

Welcome to Be That Writer.

Be That Writer is a free online course for people who want to be writers.

You could well have read books on writing, visited other online resources on how to be a writer, you may even have paid for courses on how to be a writer.

Be That Writer is different. Be That Writer will help you to become that writer who you have always wanted to be.

Be That Writer will tell you something that most other writing resources will probably not have told you. Much of what you will have read on becoming a writer is nonsense! Oh, yes, it will have been well-meaning, but nonsense all the same!

You will have been told: "Write about what you know." Really? Did you know that one of the most prolific and widely read writers of "Western fiction" (otherwise known as cowboy fiction) writes all his books from his home in Newcastle, England?

And if we should only write about what we know, how would  Lindsey Davis be able to write about her hero the Roman private enquiry agent Marcus Didius Falco? After all, if we are only to write about what we should know, how could any historically set novel or non-fiction article ever be written?

So rather than saying only write about what you know the BTW (Be That Writer) maxim would be extended out to say: "Write about what you know about... or what you can research."

Over time, Be That Writer will show you what you can write about, how to research it, who to write for, how to write and how NOT to write. The author behind Be That Writer is not only a published author and writer he works as a commissioning editor and will offer you valuable tips on what NOT to do when writing articles for publication in magazines and newspapers.