Looking for something specific?
FAQs
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Yes, we are actually. The Vagabond’s Verse team is always looking for more staff writers and editors. Click this link to apply now.
P.S. All roles are currently unpaid and require a dedication of about 2.5 hours a week. Compensation comes in the form of a copy of our recent issue sent via regular mail.
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New York, NY, USA (GMT-4)
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Publication Rights
We accept only original works from individuals aged 16 and above. Please do not submit work that is not yours for legal liabilities. We uphold First North American serial rights (FNASR), meaning we hold the right to publish your work (cannot be published anywhere else until after our own publication), and then the rights return to you. Please let us know if your work has been selected for another magazine before our own publication.
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Yes, we absolutely do—in the categories of poetry, prose (fiction and nonfiction), visual art, and even videos/songs/audio, and other multimedia art.
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As a non-profit magazine, we currently do not have sufficient donations/funds to financially reward each selected writer or artist. However, if you are located in the United States and are published in any of our in-print issues, we will do our best to mail you a copy.
Please note that a free copy of our print issue is not guaranteed due to high printing costs.
It is simply an honorary token of our appreciation.
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Yes, you absolutely can! We welcome article pitches, or perhaps if you have a fully formed essay you want published on our blog, pitch it to thevagabondsverse@gmail.com and editor@thevagabondsverse.org
From time to time, someone decides to resurrect the same debate about 500 Days of Summer (2009): was Summer the villain, or was Tom simply delusional? The response to that question rarely changes. Summer is perceived as a cold, evasive witch who purposely misleads poor Tom, while Tom is defended as a romantic, perhaps naive, but well-intentioned good guy. The framing of that narrative is quite unsurprising, almost expected, because it provides the natural urge to assign fault cleanly; a way to make sense of a dramatic, romantic split by assigning one person the role of the wrongdoer and the other the role of the one wronged.