MC-Guide
Content Writing
Website 41: Newyorker.com
How Can You Earn Money Writing For “Newyorker.com” Website
This guide shows you, step by step, how a beginner can learn to pitch and sell stories to Newyorker.com.
You will learn what Newyorker.com wants, how to test your idea, how to write a pitch, and how payment roughly works. You can use this like a small SOP.
Guide: How to Write for The New Yorker (and Get Paid) — Step by Step
This guide shows you, in simple steps, how to write and submit work to The New Yorker — even if you are a beginner. But “beginner” here does not mean “no practice.” It means: you are new to submitting to big magazines. We will build you a clear path from first practice → first submission → first paid clip.
Important: The New Yorker has specific doors for unsolicited submissions. According to its official FAQ and Contact pages, they accept submissions for Fiction, Poetry, Shouts & Murmurs, and Cartoons, and they also provide a submission route for Video. They do not consider unsolicited submissions for many other sections (like certain reported columns and departments). That means your first job is to choose the correct door — or you will waste months waiting for an answer.
This page is long on purpose: it is a full SOP you can follow. Use the table of contents, then return to Section 7 for a checklist and the copy‑paste templates.
Section 1 · Understand the publication
What The New Yorker actually is (and why that matters for your writing)
The New Yorker is not “a blog that accepts guest posts.” It is a long‑running magazine and digital publication with a distinct editorial identity. When you submit, you are not asking “Can I publish a post?” You are asking: “Is my work at the level of your best work, and does it fit your departments?” That is why you should treat your submission like you would treat a job application for an elite role.
Start with these official pages (open in new tabs and keep them open while you work): Homepage, Contact (submission rules), FAQ, Fiction & Poetry, Humor & Cartoons, Shouts & Murmurs archive, Daily Cartoon, and the Cartoon Caption Contest.
The New Yorker is organized into recognizable departments and tones. For you, the key idea is this: each submission door expects a different kind of excellence.
- Fiction is literary and tightly edited. Many stories can feel quiet, but they still have pressure and movement.
- Poetry often has intellectual edge and emotional restraint; lines are crafted, not casual diary entries.
- Shouts & Murmurs is humor that reads like short fiction, a satirical memo, a letter, or a “serious” explanation that slowly becomes absurd.
- Cartoons are single-panel: one image, one caption, one clean idea. No multi-panel comics, no unfinished sketches.
- Video leans documentary/cultural storytelling; the guidelines emphasize length, originality, and a private screener link.
Once you know your door, you can build a submission that feels like it belongs.
The New Yorker’s archive is a huge “classroom.” Their FAQ says nearly every article since 1925 is accessible on the site, and subscribers can explore full issues via the replica edition. Even without a subscription, you can still learn a lot by reading current free pages and browsing section pages.
- Browse Magazine issues to see weekly pacing and themes.
- Use search, section pages, and author pages to map what “good” looks like.
- Study how pieces open: a scene, a surprising line, a compressed voice, a moral tension.
Your goal is not to copy. Your goal is to understand standards and learn how to reach them.
| What you want | What you should do on The New Yorker site | Why it helps |
|---|---|---|
| Find the right door | Read the Contact page and FAQ | Stops you from sending the wrong thing to the wrong place |
| Learn the voice | Read 10 pieces in your target department (fiction/poetry/humor/cartoons) | You start to hear rhythm, sentence length, irony, and restraint |
| Choose a good idea | Note recurring themes and “New Yorker obsessions” (class, power, culture, human quirks) | Your ideas become more “New Yorker-shaped” |
| Build credibility | Study contributor bios and their work paths on the Contributors page | You see how writers build a ladder: smaller work → major work |
Section 2 · Pick the right door
The 5 “doors” beginners can use (and what each door wants)
This is the most important section for beginners. You can be a great writer and still fail because you used the wrong door or ignored a format rule. The New Yorker’s official FAQ states that they accept submissions for Fiction, Poetry, Shouts & Murmurs, and Cartoons (and provide instructions on the Contact page), and that they cannot consider unsolicited submissions for other sections like Talk of the Town or Goings On. So your goal is to choose the door you can realistically enter now.
Fiction: literary stories, sharp scenes, serious editing
Start studying here: Fiction & Poetry and the Fiction Podcast (it shows how editors talk about stories). Also read about the fiction editor and process: Inside the Fiction Department.
- Best for you if: you write short stories or literary fiction and you are comfortable revising.
- Not best if: you only write personal essays, motivational posts, or non-fiction explainers.
- Core skill: tension + specificity. A New Yorker story often feels inevitable, not random.
Beginner tip: If you have never completed a short story workshop, do a simple drill: write a 1,200-word scene where two people want different things, and you never say the word “want.” Make the desire visible through action and subtext. That is the muscle you need.
Poetry: polished poems, formal control, clear submission limits
Start studying here: Fiction & Poetry (filter for poems), and the Poetry Podcast. The New Yorker uses Submittable for poetry submissions: newyorker.submittable.com.
- Best for you if: you can produce a small set of strong poems and revise line-by-line.
- Not best if: your poems are unedited first drafts or are already published everywhere online.
- Core skill: control. A New Yorker poem feels like it knows exactly what it is doing.
Beginner drill: Take one poem you like. Rewrite it three ways: (1) cut 20% of the words, (2) cut 40% of the words, (3) keep the length but remove every abstract noun. You will learn which lines are actually strong.
Shouts & Murmurs: humor that reads “serious” until it breaks
Start studying here: Shouts & Murmurs and the broader humor hub: Humor, Satire, and Cartoons. This department is a perfect door for beginner writers who are not ready for reported features but can write strong comedic prose.
- Best for you if: you can write in a voice (memo, list, letter, guide, “official” announcement) and escalate carefully.
- Not best if: your humor depends on shock, personal ranting, or “inside jokes” that require your friend group to understand.
- Core skill: comedic logic. It must make sense inside the “fake serious” frame.
Beginner drill: Write a 700-word “instruction manual” for something absurd, but keep the tone perfectly calm and helpful. The humor should be in the mismatch between tone and content, not in random wackiness.
Cartoons: single-panel, finished art + caption, no “ideas only”
Start studying here: Daily Cartoon, Cartoons from the issue, and the Caption Contest. The official cartoon submission portal is Submittable: newyorkercartoons.submittable.com.
- Best for you if: you can produce finished drawings with a clear caption idea.
- Not best if: you only have “funny concepts” with no completed art.
- Core skill: one strong idea. A New Yorker cartoon is a distilled observation.
Beginner drill: Make a “caption bank.” Every day, write 15 captions for random scenes (a courtroom, a therapist office, a spaceship). After 30 days you will have 450 caption attempts. Then choose the top 12 and draw them cleanly. That is the cartoonist muscle.
Video: short documentary work (unpublished), clear synopsis + private link
Start studying here: Video hub and Documentary (if the hub routes you there). The submission guidelines are on the Contact page. This door is for filmmakers, but writers can still learn from it, because it teaches: pitch clarity.
- Best for you if: you have a finished or near-finished short film under the length limit.
- Not best if: you only have an idea or a script without a video.
- Core skill: story summary. Editors need to understand the film quickly and confidently.
Beginner drill: Write a 200–300 word synopsis of your film or story and test it with one friend: can they retell it back to you correctly? If not, you need a clearer synopsis.
| Door | What you submit | Best beginner strategy | Study links |
|---|---|---|---|
| Fiction | Short story (polished) | Write 3 stories, revise hard, submit the best one | Fiction & Poetry · Fiction Podcast |
| Poetry | Up to 6 poems per submission set | Submit your best 4–6, track timing, revise between rounds | Poetry Submittable · Poetry Podcast |
| Shouts & Murmurs | PDF prose humor piece | Write 10, keep 1 great, submit one at a time | Archive · Humor hub |
| Cartoons | Up to 10 finished cartoons | Draw clean, caption strong, submit monthly | Daily Cartoon · Caption Contest |
| Video | Private screener link + 300-word synopsis | Make synopsis crystal clear, submit only finished work | Video hub |
Section 3 · Study the voice
A beginner’s “New Yorker voice” training plan (without copying)
A beginner mistake is trying to “sound like The New Yorker” by copying vocabulary. That creates fake voice. Editors can smell it. The goal is different: you want to learn how the writing behaves — how it moves, how it builds tension, how it lands a joke, how it respects the reader’s intelligence. You can learn this through a structured reading plan.
In one week, read 10 pieces in your target department:
- 2 items from the main hub: home page + one section page.
- 3 pieces from your door (e.g., 3 Shouts & Murmurs from this archive).
- 2 pieces from a “nearby” department (humor writers read fiction; fiction writers read profiles or criticism).
- 3 older pieces found through search or author pages.
After each piece, write one sentence: “This piece works because…” Your answers will start to repeat. Those repeats are the craft rules you need.
Imitation is a training tool if you keep it private. Do this:
- Pick one paragraph you admire (do not publish it, do not quote it in your work).
- Rewrite it as “the same movement” but with entirely different content.
- Then write your own paragraph about your own topic using the same movement.
You are training rhythm and structure, not stealing. When you publish, your sentences must be yours.
Now, here are the specific “New Yorker behaviors” you can train. Each one includes a drill and examples of where to study.
Controlled specificity (not random detail)
New Yorker writing often uses detail to reveal power, class, fear, desire, or absurdity. The details are not decoration. They are story engines.
- Drill: describe a room in 120 words using only concrete nouns. Then add one sentence that reveals the emotional truth.
- Study:Fiction & Poetry.
Smart restraint (no “look at me” writing)
A lot of beginner writing is loud: it announces meaning. New Yorker writing often trusts implication. That does not mean it is vague. It means it is confident.
- Drill: take a paragraph of yours and remove every adjective that says how to feel (beautiful, awful, amazing). Replace with action.
- Study:archive.
Escalation (in stories and jokes)
Whether it is fiction or humor, good pieces escalate: they get tighter, stranger, sharper. They do not simply continue.
- Drill: write a 6-step escalation ladder for your idea. Each step must be more specific and more revealing.
- Study:Humor hub.
Endings that feel inevitable (not “wrap-up”)
Beginners often end with a summary. New Yorker work often ends with an image, a turn, a line that re-frames the entire piece.
- Drill: write 3 different last sentences for your draft, each doing a different job: (1) twist, (2) quiet sting, (3) open question.
- Study:Fiction Podcast.
Section 4 · Build the piece
How to build a “submission-ready” piece (beginner-friendly craft + structure)
This section is practical: it shows you how to construct work that editors can say yes to. We will not pretend there is a single “New Yorker formula.” But we can teach repeatable systems. Choose your door below and follow the matching structure. If you are a complete beginner, start with Shouts & Murmurs first. It is often the easiest door to practice because you can draft quickly and learn pacing.
4A · Fiction structure (a practical build)
Fiction at this level benefits from craft discipline. Here is a beginner-friendly build that still produces serious work:
Start with a scene that contains a problem (not “vibes”)
Your first page should not be explanation. It should be a moment where something is at stake: a relationship, a lie, a fear, a decision, a misunderstanding. You can write beautiful sentences later. Start with pressure.
- Tool: write the opening as a “camera scene.” Only what we can see/hear.
- Check: can the reader answer “What could go wrong here?”
Create a desire conflict (two wants, one space)
New Yorker stories often feel like intelligence at work: people want things, hide things, perform. Even if the story is surreal, the desire conflict must feel real.
- Character A wants X. Character B wants Y. They cannot both get it without cost.
- Write 5 lines of dialogue where nobody says what they want.
- Write one gesture that reveals a secret.
Write a middle that tightens (do not drift)
The middle is where beginners fail. The fix is simple: choose two turning points and aim toward them. Turning points can be events, discoveries, or emotional shifts.
- Turning point 1 (around 40%): the character learns something / loses something / is forced to act.
- Turning point 2 (around 75%): a cost becomes unavoidable.
- Final pages: consequence + emotional afterimage.
Revise as if an editor will cut your favorite lines
You must be willing to remove lines that are pretty but not necessary. The New Yorker’s fiction process is known for strong editing, so train for that.
- Cut 10% of your words without losing meaning.
- Remove 3 “explanation” paragraphs and replace with action or dialogue.
- Verify consistency: names, timeline, setting details.
4B · Poetry structure (a practical build)
Poetry is not “short writing.” It is compressed decisions. Here is a simple build:
| Stage | What you do | What you avoid |
|---|---|---|
| Draft | Write quickly, chase an image or conflict | Explaining the poem like a diary |
| Shape | Choose a form: line length, stanza logic, sound choices | Random line breaks with no purpose |
| Cut | Remove abstract or generic lines (“I felt,” “it was beautiful”) | Keeping weak lines because they are “true” |
| Anchor | Give the reader a concrete world (objects, place, time) | Floating emotions with no scene |
| Polish | Read aloud, fix mouth-feel, tune rhythm | Submitting without hearing the poem |
Beginner shortcut: If you are unsure, submit a smaller set of poems that clearly show control. The New Yorker’s Submittable portal has specific limits and a structured process; treat your set like a curated mini‑collection.
4C · Shouts & Murmurs structure (the easiest “serious practice” door)
This is where many beginners can build a strong piece fastest. Shouts & Murmurs often follows a recognizable pattern: a believable frame + escalating absurdity + a clean ending. Here are 6 proven formats. Pick one and write in it.
- Official memo: workplace update, policy change, HR training guide.
- Instruction manual: how to do something with ridiculous stakes.
- List with escalation: “10 signs you are…” but each item sharpens the satire.
- Letter: apology letter, complaint letter, love letter, resignation.
- Product copy: a fake product that reveals a cultural problem.
- Confessional voice: someone calmly admitting something horrifyingly normal.
Study many examples here: Shouts & Murmurs archive.
Write your piece in 5 beats:
- Beat 1: normal situation + calm voice.
- Beat 2: small odd detail that is still believable.
- Beat 3: bigger odd detail; reader realizes this is satire.
- Beat 4: the logic gets tighter and harsher; the cultural point becomes visible.
- Beat 5: a final line that stings, flips, or collapses the frame.
If you can do this ladder cleanly, you are writing in a New Yorker‑friendly humor mode.
Beginner quality checks for Shouts & Murmurs:
- No filler: every paragraph must add new information or escalate.
- No “joke pile”: do not list random jokes; build a coherent satirical world.
- Voice consistency: the narrator stays in character until the end.
- Respect: punch up. Avoid cheap stereotypes or cruelty as a shortcut.
4D · Cartoon structure (idea + drawing + caption as one system)
A New Yorker cartoon is a single-panel thought experiment. Many beginners draw well but do not have the right cartoon logic. Use this build:
Start with a recognizable “scene” (the classic New Yorker stage)
Most successful cartoons begin with a setting the reader recognizes immediately: office, therapist, restaurant, courtroom, living room, bar, boardroom, doctor’s office, classroom, heaven/hell, spaceship. These are useful because they come with built‑in power dynamics.
- Exercise: pick 10 stages and sketch quick thumbnails for each.
- Study:Daily Cartoon.
Write 20 captions first (then choose 1)
Do not marry your first caption. Write 20, then choose the cleanest. Most New Yorker captions are short and confident.
- Exercise: write 20 captions, circle 3, show them to a friend, ask: “Which one feels inevitable?”
- Practice:Caption Contest.
Finish the art cleanly (no roughs, no “ideas only”)
The official cartoon submission page says they only accept completed cartoons — not cartoon ideas. So your work must look finished, not like a concept sketch.
- Use clean line work and clear facial expressions.
- Keep background detail minimal unless it serves the joke.
- Make text readable at typical screen size.
Section 5 · Submit correctly
How to submit to The New Yorker (formats, timing, tracking, and follow-up)
Now we go from craft to execution. Many submissions fail at this level because the writer is careless: wrong file type, missing contact info, sending multiple pieces at once, ignoring response time rules. Your goal is to become the kind of submitter editors like: clean, polite, easy to process.
The official submission rules live here: Contact page and the relevant Submittable portals: Poetry Submittable and Cartoons Submittable. Keep those pages open while you prepare.
5A · The universal submission kit (use for every door)
Before you submit anything, create a small “submission kit” folder on your computer. This simple preparation makes you look professional.
- 01_Bio (short bio, 2–3 sentences)
- 02_Contact (one document with your name, address, email, phone)
- 03_Published Clips (links or PDFs of your best work)
- 04_Submissions (final drafts + submission-specific cover sheets)
- 05_Tracker (a spreadsheet: date, door, title, status, response)
This kit prevents last-minute scrambling and reduces errors.
Keep it simple and true:
- Sentence 1: who you are + what you write/draw/film.
- Sentence 2: 1–2 relevant credits (or “published in…” if any).
- Sentence 3: location + website/portfolio link (optional but helpful).
Do not oversell. Editors prefer calm confidence.
5B · Door-by-door submission instructions (beginner version)
| Door | Where to submit | What to attach / include | Response expectations |
|---|---|---|---|
| Fiction | Instructions on Contact page | Story as attachment (typical: .doc/.docx or PDF), simple note + contact info | They may respond within ~90 days (and often contact only if interested) |
| Poetry | Submittable | Up to 6 poems per submission set; follow portal prompts | They note response may take up to ~6 months |
| Shouts & Murmurs | Instructions on Contact page | PDF attachment; include cover sheet details (title, word count, contact) | They note response may take up to ~6 months |
| Cartoons | Cartoons Submittable | Up to 10 finished cartoons per submission; image files per portal rules | They note response may take up to ~90 days |
| Video | Instructions on Contact page | Private screener link + 300-word synopsis + contact info | They note response may take up to ~90 days |
Now we will walk each door in more detail and give you a beginner “do this / don’t do this” list.
Fiction: keep the email minimal, professional, and clean
- Subject line: “Fiction Submission: [Title]”
- Body: 3–6 lines: greeting, one-sentence story description, short bio, thanks
- Attach the story exactly as requested on the Contact page
- Do not send multiple stories at once unless guidelines explicitly allow it
- Do not follow up early; respect the response window
If you are unsure about formatting (double spacing, etc.), use standard manuscript norms: readable font, clear paragraphing, page numbers. Do not be fancy. Your craft is the “fancy.”
Poetry: treat your set like a curated mini-collection
- Choose 4–6 poems that feel like they belong together in quality
- Proofread line breaks carefully (they are part of meaning)
- Use the Submittable fields honestly; do not hide prior publication
- Track your submission date; do not spam multiple sets outside the allowed frequency
- If you withdraw a poem, use the portal method instead of sending chaotic emails
Tip: name your files clearly: “Lastname_Poetry_2025-12.pdf” or similar. Make it easy for editors to store and reference.
Shouts & Murmurs: humor still needs a “cover sheet” and clean PDF
- Attach as PDF (as requested)
- Include cover sheet items: title, word count, your name, address, phone, email
- Write in a recognizable voice frame (memo, guide, letter)
- Submit one at a time (do not stack multiple pieces)
- Do not send first-person “humorous essays” if guidelines discourage that; aim for humorous fiction/satire
Quality hack: remove 5 jokes that are “okay” so the best 5 stand out. Editors remember sharpness.
Cartoons: follow image rules, submit only finished work
- Use the official portal: Cartoons Submittable
- Submit up to 10 completed cartoons per submission (monthly rhythm is common)
- Use accepted file types (as specified on the portal)
- Keep captions readable; don’t hide them in tiny handwriting
- Do not submit “ideas” or rough concepts
Beginner check: shrink your image to phone size. If the joke dies, simplify the drawing or caption.
Video: make the synopsis and link frictionless
- Email a private screener link (Vimeo/YouTube unlisted, etc.)
- Include a ~300-word synopsis that is clear and spoiler-aware
- Confirm the film is unpublished and within the length limit
- Include runtime, year, and your contact details
- Do not attach massive video files to email unless explicitly asked
Your synopsis should read like a smart back-cover description, not a diary. Be clear about: who, what changes, what tension, what the viewer learns.
5C · Tracking and follow-up (the calm professional way)
If you want to earn money from writing, you need a system that protects your mind. Submissions can be slow. A tracker turns waiting into a process instead of a personal drama.
| Field | Example | Why it matters |
|---|---|---|
| Date submitted | 2025-12-19 | So you know when a follow-up is reasonable |
| Door | Shouts & Murmurs | Different doors have different response windows |
| Title | “A Beginner’s Guide to Being a Minor Villain” | So you can track versions and resubmissions |
| Status | Submitted / Withdrawn / Rejected / Accepted | So your system stays accurate |
| Next action | Revise / Submit elsewhere / Write a new piece | So you keep moving and improving |
Section 6 · Money & rights
How you actually earn money from The New Yorker (and how to think long-term)
The New Yorker does not publish “pay rates” on the public submission pages. That is normal for major magazines: fees depend on the piece, the contract, rights, and editorial needs. So instead of obsessing over a number, learn the money ladders. A ladder means: one success creates the next success.
When you publish in a prestigious outlet, the payment is only the first benefit. The bigger benefit is the clip: a respected byline you can show to future editors and clients.
- Clip → easier to pitch other magazines.
- Clip → higher freelance rates for commercial work (brands hire writers with credibility).
- Clip → speaking, teaching, newsletter growth, book deals (long-term).
So even one acceptance can change your income potential. Treat it as a business asset, not just a moment.
The New Yorker’s FAQ notes that covers and cartoons are available for purchase via the Condé Nast Store, and that you can search for cartoons by keyword, title, or artist. This matters for artists because it points to a long tail: published work can be discovered and purchased later.
- Visibility → commissions.
- Publication → licensing opportunities (depending on contract terms).
- Catalog presence → searchability on major store platforms.
Resource links: Condé Nast Store · Shop The New Yorker.
Now, let’s translate money into beginner actions you can take.
| If you are a… | Your immediate “money move” | Your long-term “money move” |
|---|---|---|
| Fiction writer | Build 3 submission-ready stories + submit on a schedule | Use published clips to get commissions, grants, residencies, or book interest |
| Poet | Curate 4–6 poems, submit carefully, revise between rounds | Use publication as leverage for readings, teaching, chapbook/book opportunities |
| Humor writer | Write 10 Shouts, keep 1 best, submit one at a time | Use byline to pitch other humor outlets, TV packets, newsletters, book proposals |
| Cartoonist | Develop a monthly submission rhythm with finished work | Build a recognizable style, publish repeatedly, increase licensing/commission chances |
| Filmmaker | Make synopsis + screener clean and easy | Use selection/publication to reach festivals, funding, and distribution contacts |
6A · Rights basics (beginner-friendly)
When you are accepted, you will likely sign a contract. Contracts vary, but here are the core ideas you should understand:
- First publication rights: the magazine gets to publish it first.
- Exclusive period: you cannot republish elsewhere for a while.
- Reprint rights: if the piece is reprinted in an anthology, there may be terms.
- Audio rights: some publications produce audio versions. The New Yorker’s FAQ states they publish A.I.-generated narrations of many articles to make more pieces available for listening.
- Archive rights: many pieces live permanently in the publication’s archive.
Beginner move: keep a “rights notes” page in your tracker. When accepted, write down what rights you granted and for how long. This prevents mistakes later when you want to republish or include work in a book.
6B · Alternative income paths connected to The New Yorker
Even if you never publish in The New Yorker, you can still earn money by using it as a “quality standard school.” Here are beginner-friendly income paths:
Build a “New Yorker-style” portfolio and pitch other paying outlets
You can train on The New Yorker and submit elsewhere too. Write one high-quality Shouts-style piece per week and publish on your blog or a platform. Then pitch humor sections in other magazines. Your “New Yorker training” becomes a quality differentiator.
Teach what you learned (ethically)
After you publish (or after serious practice), you can teach: workshops, coaching, courses, Patreon, newsletters. Be honest: do not claim you are an official New Yorker teacher. But you can say: “Here is the training plan I used.”
For cartoonists: sell prints, build commissions, and diversify
Build your own store, submit consistently, and use any publication as credibility. The New Yorker’s world includes contests and high visibility, which can grow your audience. Use the weekly Caption Contest as training and audience engagement.
For reported writers: build trust and bring tips correctly
If you are a journalist or you have information that matters, The New Yorker has a secure “Send a Tip” page with options like Signal and PGP-encrypted email. This is not a submission door for essays, but it is a professional channel for confidential information in the public interest. See: Send a Tip.
Section 7 · Ethics & AI
Trust is your currency: ethics, AI, originality, and safety
If you want to earn money from writing long-term, you must protect your reputation. The New Yorker’s brand is built on credibility. Even for humor, credibility matters. For journalism, credibility is everything. Your job is to be the kind of writer an editor can trust: honest, careful, and clean.
- Do not plagiarize. Not text, not jokes, not cartoon concepts, not poems.
- Do not fabricate. No fake quotes, fake reporting, fake credentials.
- Do not hide prior publication. If something is already published, be honest (especially for poetry and cartoons).
- Do not spam. Multiple submissions outside allowed limits will hurt you.
- Do not send abusive messages. Editors remember professionalism.
These actions may not only get you rejected; they can get you quietly blocked.
The New Yorker’s FAQ explains that they use A.I.-generated text summaries to help readers navigate older archive material, and that they also publish A.I.-generated narrations of many articles for listening access. That does not mean you can submit lazy AI drafts. Your submission must still be your voice, your craft, your responsibility.
- Safer AI use: brainstorming outlines, checking grammar, summarizing your own draft for clarity.
- Risky AI use: generating a whole story/poem and “light editing.” Editors can detect generic language.
- Always required: you verify everything and you rewrite in your own words.
Now, here is a beginner-friendly “ethics SOP” you can follow for every piece you submit anywhere.
Keep a “proof pack” even for creative work
A proof pack is a mini folder that shows your work is original and considered. For fiction and humor, it can include: early drafts, notes, an outline, and a list of sources if you referenced real facts. For cartoons, it can include: thumbnails and caption banks. If anyone ever questions originality, you can show your process.
Verify facts, even inside satire
Satire can reference real events. If you mention something factual, verify it. In a big publication, factual errors damage trust. A simple method: before submission, highlight every factual claim and check it.
Use secure channels for sensitive information (journalism)
If you are sharing confidential information as a source, use official secure channels. The New Yorker provides a “Send a Tip” page with Signal number and PGP email fingerprint. See: Send a Tip.
Be transparent with editors
If your piece was previously posted, if a poem is under consideration elsewhere, if a cartoon idea appeared online, tell the editor or follow the portal rules. Transparency builds trust. Secrecy destroys it.
Section 8 · Checklist + templates + FAQ
Final pre-submission checklist + copy/paste templates (beginner friendly)
This final section is the “do it now” part. Use it right before you submit. First you check the checklist. Then you copy and paste the templates. Then you submit calmly and track it.
Copy/paste templates (edit the brackets)
Subject: Fiction Submission: [Title]
Body:
Hello Fiction Editors,
Please consider my short story, “[Title],” for publication at The New Yorker. [One-sentence description of the story’s premise or tension.]
Short bio: [2–3 sentences. Who you are, what you write, one or two credits if any.]
Thank you for your time and consideration.
Sincerely,
[Name]
[Email] · [Phone] · [City/Country]
[Optional: Website/portfolio link]
Attach: [Story file in the requested format].
Subject: Shouts & Murmurs Submission: [Title] ([Word count] words)
Body:
Hello Shouts & Murmurs Editors,
Please consider my Shouts & Murmurs submission, “[Title].” [One-line description of the frame: e.g., “A workplace memo that…”]
I have attached the piece as a PDF with a cover sheet including my contact information.
Thank you for your time and consideration.
Sincerely,
[Name]
[Email] · [Phone]
[Address]
Use the official portal: Cartoons Submittable. In your description field (if any), keep it minimal:
- [Name], cartoonist/illustrator based in [location].
- Submitted: [X] completed cartoons.
- Website/portfolio: [link].
- Instagram (optional): [link].
Do not explain the joke. The work should carry itself.
Subject: Video Submission: [Title] ([Runtime])
Body:
Hello Video Editors,
I am submitting my film “[Title]” ([year], [runtime]). Private screener link: [link] (Password: [password]).
Synopsis (approx. 300 words):
[Paste synopsis here.]
This film is unpublished and has not appeared elsewhere online. My contact information is below.
Thank you for your time and consideration.
Sincerely,
[Name]
[Email] · [Phone] · [Location]
[Website/portfolio link]
FAQ: Beginner questions
- Contact page (submission rules)
- FAQ (official basics, archive, submissions, AI notes)
- Poetry Submittable portal
- Cartoons Submittable portal
- Fiction & Poetry section
- Humor, Satire, and Cartoons
- Shouts & Murmurs archive
- Daily Cartoon
- Cartoon Caption Contest
- Magazine issues
- Send a Tip (secure channels)
- Buy covers and cartoons (Condé Nast Store)