One hundred percent of the content in Nowhere comes from submissions. Thirty percent of the stories we publish are by first-time writers. We don’t take just anything; submitting is competitive, and our staff focuses a keen eye on narrative, setting, character, story arc, detail, research, reporting and authenticity. With fifty years of editing experience in the travel world on our masthead, the editing process is comprehensive—making your work look its best before publishing.

We support our writers by submitting the best stories of the year to contests and anthologies. The magazine and its contributors have been anthologized in The Best American Travel Writing, Lowell Thomas Travel Awards, and magazines and reviews around the world. We write blurbs and reviews for our authors, as well as publicize their books and other work on our social media pages. We aim to cultivate a welcoming, encouraging space in which anyone—portfolio or no—can engage and entertain readers who return to Nowhere for the best travel writing, anywhere.

Nowhere’s audience seeks long-form, complex stories, and they take delight and care in reading your work. They aren’t looking for a quick fix or a forgettable distraction. If that sounds like your people, we are your introduction.


Nowhere publishes literary travel writing. To us that means anything with a strong sense of place, character or time. Most of our submissions are from seasoned journalists, but we are also interested in stories from anthropologists, musicians, poets, film directors and anyone else who spends time traveling.

We ran Blaise Cendrars’ “The Prose of the Trans-Siberian”; David Quammen’s hunt for prehistoric bears in Romania; Arthur Bradford on a journey to the Home Depot in Portland, Oregon; and poet Dan Hoyle on the 2012 Republican Campaign Trail.

Nowhere is produced by working journalists. We are trying to make something different—something without space or content limitations that’s as fulfilling for the writer as it is for the reader. We publish traditional features as well as travelogues, journal excerpts, character sketches, profiles, conversations, reviews, notes, video, audio… We like rich contextual detail, elliptical storylines and lean, evocative writing. We’d love to see a story about a Kansas City street corner that is significant for some reason. We don’t want destination, how-to or service fluff of any kind.

Please remove your name or other identifying details from your submissions, as we review all entries blind. Please allow eight to ten weeks for our very small staff to read your work.


Nowhere publishes literary travel writing, photo essays and, sometimes, video. To us, that means anything with a strong sense of place, character or time. Most of our submissions are from seasoned photographers, but we are also interested in stories from anthropologists, musicians, poets, film directors and anyone else who spends time traveling with a camera.

We have featured photos of of the Cane River National Heritage Area in Natchitoches Parish, Louisiana, snapshots from across Brazil from a photographer just beginning his now-successful career and a moving collection of images from the Oceti Sakowin Camp during their protest of the Dakota Access Pipeline.

Nowhere is produced by working journalists. We are trying to make something different—something without space or content limitations that’s as fulfilling for the writer or photographer as it is for the reader. We like rich detail, unusual perspective and tight collections of perhaps a dozen thematic images. We’d love to see a portfolio about a Kansas City street corner that is significant for some reason. We don’t want destination, how-to or service fluff of any kind. Be sure your submission is all color or all black and white. Please remove your name or other identifying details from your submissions, as we review all entries blind.

Please allow eight to ten weeks for our very small staff to review your work.

Nowhere