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We aim to publish good, new 14-line poems in modern English that are recognisably (to us) sonnets. A submitted sonnet must not have been published elsewhere, in print or online. See the more detailed guideline on previous publication in the main text on the right.

How are we defining a sonnet?

As a 14-line poem that the selection panel choose to regard as a sonnet.

There are several features often considered characteristic of sonnets. The fourteen-line poem might be in a form (meter and probably rhyme) reminiscent of traditional sonnets; it might be cast as an argument or meditation with a “turn” or volta somewhere in the later lines, typically around Line 9. While no specific characteristic is an inflexible requirement, a submission that does not have a sonnet “feel” to it probably won’t be selected.

The sonnet essay by Anna Evans, here, is worth a look. Also see the essays with the invitational sonnets in this and previous issues.

Selection process

Selection involves, per sonnet, all readers from our panel, and is “blind” for the readers. (Submissions are forwarded without names or other identifying details.) 

Like some previous issues, Issue 10 may include one or more “invitational” sonnets.

  

Next deadline: September 14, 2009

14 by 14   is now published every three months. Issue 10 is due out in September 2009. It is our aim to publish on the 14th of the month, though occasionally there might be a delay. Submissions are open for about two months until the 14th of the month before publication. Usually, since each issue will have a different broad theme, it will not be possible to carry submissions forward to the next one.

Issue 10 is due out around September 14, 2009, and submissions are now open until August 14.  Issue 10 will focus on love sonnets. Send us one or two unpublished sonnets fitting the theme in some fashion.

Please do not submit more than two sonnets per issue. A sonnet is one 14-line poem: no double sonnets, crowns, curtal sonnets, caudate sonnets, Meredithian sonnets, or other variants with more or fewer than 14 lines.

We want new, not recycled, material. A submitted sonnet should never have been published in print or online. That includes personal websites and blogs — see the amplification below concerning online workshops. And it should not be under consideration elsewhere: our short timescales simply can’t accommodate the potential complications of simultaneous submission.

What counts as “published”?
Of course, if it has appeared in a print publication it is published.As far as online publication goes, we do consider something published if, before or during our issue currency, substantially the same work appears (or has appeared) on a publicly accessible website — and that includes personal sites and blogs as well as ezines. Therefore, do not submit it to 14 by 14 if it is, or has been, or is about to be, displayed on your site or someone else’s.

Workshop boards/forums: We do not consider a sonnet published if it has appeared temporarily on a forum or workshop site (such as Eratosphere) where the work is not archived. We do consider it published if it is stored or archived indefinitely on the workshop site. You may submit a sonnet that has been workshopped at Sonnet Central, so long as you agree that, if it is accepted, you will either remove it from SC or have it placed in the non-public archive area. If you don’t accept this condition, don’t submit a sonnet workshopped at Sonnet Central.

We have an online submission form and strongly encourage you to use it. The other option is to send your one or two sonnets in the body of a formatted or plain-text email message (no attachments, please) to

What are some common faults in submitted sonnets?
There are certain mistakes and weaknesses that we see again and again in submissions. One is a too-derivative, unnatural style and tone. Archaic language will kill a sonnet’s chances, unless it’s handled knowingly, to ironic or humorous effect. Tired tropes and metaphors extended (inflated) to bursting point will also tend to push judges’ NO buttons, as will piling on the adjectives or other modifiers, especially where these seem to have no function but to pad out the meter. Of course all metrical poets have to shape their language to the meter, which sometimes means adding words to fill out a line; but the trick is to do it in such a way that the extra words enrich the poem rather than make it flabby. You can’t afford to waste syllables in a sonnet. Everything should contribute in some way.

For more along these lines, read what our selection panelists have said in their invitational essays in previous issues.

The following are the members of the selection panel for Issue 9. If you would like to know more about the 14 by 14 team, please see the Acknowledgements and Links page.

Selection panel: David Anthony, Robert Crawford (2006 Nemerov winner), Rhina P. Espaillat (twice Nemerov winner), Julie Kane (Open Sonnet Competition winner), and Paul Stevens.