Interview With Apex Magazine’s Jason Sizemore

Apex Magazine is one of my favourite places on the internet to read short fiction. They publish everything across the speculative fiction spectrum, including some of the biggest names in the business and some of the most amazing short stories I’ve read.  Apex is currently in the middle of a Kickstarter for funding for their next year of publication, and I would encourage anyone who is in a position to do so to support them hereApex Magazine champions diverse works that, in their own words, are “twisted, strange, and beautiful”, so let’s help them to be able to keep on doing what they do so well. 

I was lucky enough recently to have the opportunity to pick the brain of editor-in-chief Jason Sizemore, so read on for an insight into what goes on behind the scenes at a short fiction zine.  

M H Ayinde: Thanks for answering my questions! First up, how would you say the short fiction market has changed in the years since you started Apex Magazine

Jason Sizemore: For writers, it’s improved. There is a still a dearth of high-paying publications, but writers have so many more resources than they did in 2009. Publication transparency is improved. The concept of “for the love” has been critiqued into oblivion so that most markets now pay a decent token rate. Organizations like SFWA and the HWA have improved and become better watchdogs of the business.

For readers, the quality of short fiction has skyrocketed over the past decade. I credit this to the focus on diversity and own voices. Instead of only reading great fiction from the Anglo-centric English-speaking countries, we’re reading great fiction from all over the world!

MA: I’m really enjoying Snap Judgement, Apex’s new critiquing event, where writers can submit the first 250 words of a work for video critique. What are some of the biggest mistakes you see writers make in their opening lines?

JS: Thank you. We worked our butts off preparing for and executing that first entry, so it’s gratifying to know readers who enjoyed it!

By far, the biggest mistake I see is where readers start their stories at the wrong place. Unfortunately, if I’m reading your submission and nothing happens of interest until the fourth paragraph, it will be rejected. This is why you hear the well-worn advice of never start your story with your character waking up. 99% of the time, it is better to have them up and interacting with the plot than sitting in bed musing about what happened or will happen. 

MA: What is your favourite part of the editing process? And the most challenging?

JS: My favorite part is sending the acceptance letters! Not only does this mean that I’ve found a fantastic story, it means I get to make someone’s day. 

The most challenging is making the tough cuts. It isn’t uncommon for me to have rejector’s remorse. I’ll agonize for several days on a decision sometimes. Ultimately, I have to make the call on which stories will appeal to our readers the most. 

MA: Finally, which three SFF/ comic book characters would you have at your side in your ride-or-die squad? 

JS: Ford Prefect from A Hitchhiker’s Guide to the Galaxy. Dude is ready for anything thrown at him.

Roland Deschain from The Gunslinger. As long as he’s sharing stories of his youth.

Any badass heroine from a Cherie Priest novel!

Thanks very much! You can also support Apex on their Patreon here. Find them on Twitter here.

The man with the titanium jaw, Jason Sizemore is a three-time Hugo Award-nominated editor, writer, and publisher who operates the genre press Apex Publications. He currently lives in Lexington, KY. For more information visit or you can find him on Twitter @apexjason.


It’s a few weeks now since I went to see Jordan Peele’s movie Us and I can’t get it out of my head. Like all good horror, it served to unsettle me on both a visceral level and through what it had to say. It kept coming back to me, layers of meaning unfolding and I honestly can’t think of another horror movie in recent years that has felt so satisfyingly complete.

Although I’ve read a lot of fascinating words about what this movie has to say about trauma, most powerful to me was its take on privilege (and class.) And I’m a sucker for anything that can speak intelligently about class. I kept asking myself about each of the choices in the film, and what they could mean, because every choice did seem to have meaning to me. Why did Red speak with that rasping, constricted voice? Because it is literally harder for those without privilege to have a voice, have a say, and to be heard. (And Red is only able to speak at all because of who she was originally.) Both son Jason and his counterpart Pluto love fire, but why is Pluto scarred when Jason isn’t? Because those with privilege can transcend their mistakes, their dalliances with danger, but those without privilege often carry the consequences of their mistakes with them for the rest of their lives, and danger is always more dangerous to those without. The escalator is always heading down, pushing those at the bottom back into their place, ensuring they cannot rise. Those born into poverty are like puppets, moving to the whims of those in power (literally dancing to their tune, as Red does.) Every aspect of their lives is dictated by people they cannot see, and everything done those in power as an affect on the ones at the bottom. As Red says at the end, the tethered seem so like their counterparts and yet worlds separate them.

It was heartbreaking, and terrifying, and that final image, of the chain of tethered holding hands across the countryside, will stay with me for a long time.

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