Laura Cassidy from Banshee Press on investing in writers and the submission process

Banshee Press is a small independent Irish publisher that produces a twice-yearly literary journal, Banshee, as well as a select list of books. We love exciting, accessible, contemporary writing in all forms.

Banshee Press was founded in 2014 by three writers: Laura Cassidy, Claire Hennessy and Eimear Ryan. In 2021, the Banshee Press founders were included in The Bookseller’s Rising Stars list.

Sinéad: You started as a biannual literary journal before becoming a press and releasing full-length works. Was this always part of the plan, and what inspired this shift?

Laura: Banshee began as a small literary journal project among writing friends. I never intended to become a director of a publishing company, but it’s been a delightful detour. The calibre of writing sent to the journal was exceptional from the get-go, and we platformed some fantastic writers who hadn’t appeared in print before. Finding a thrilling new voice is the best part of this job; it never gets old. The press kicked off with a manuscript from Lucy Sweeney Byrne, who first appeared in print in Banshee issue #1. We’d daydreamed about a collection from Lucy, so it felt serendipitous when she got in touch about a full-length work. Lucy’s debut, Paris Syndrome, was a hit with readers and critics, shortlisted for multiple awards, and the press grew from there.

The Irish book industry is particularly conducive to small press publishing – Irish booksellers are incredibly supportive of independent presses; they go out of their way to recommend our books to readers. We can access excellent quality distribution, design, publicity, and sales representation. We received a grant from my home county council of Kildare, then vital Arts Council support, which continued when we expanded. We put in the work, but the framework was there for an enterprise like ours to succeed. We’ve been lucky in many ways throughout the entire journey, which I never take for granted. 

Sinéad: You often have guest editors working on different issues. Why do you think this is important to the journal?

Laura: As Banshee grew in popularity, so did our submission pile and team. Jessica Traynor and John Patrick McHugh appeared in the journal and served as guest editors before taking on the roles of Poetry Editor and Fiction Editor, respectively. Marie Gethins is currently editing flash fiction for us. It’s smart to have new eyes on the submission pile; editors have different tastes and priorities, new perspectives keep things interesting. It helps when these fresh perspectives come from some of the most astute editors on the island.

The brilliant Eimear Ryan and I co-run Banshee; enlisting more editors has allowed us to focus on its future. Jessica does wonders with poetry in the journal and press; more incredible collections are on the horizon. With further guest editors lined up, it’s an exciting era for the magazine. Next year, we will celebrate ten years in print, but in ways, it feels like we’re just getting started. 

Sinéad: Can you give us any insight into the selection process for the journal?

Laura: Banshee opens for submissions twice a year, in spring and autumn, for Irish and international writers. It’s free to send in work, and we welcome short stories, poetry, creative non-fiction, and flash fiction. Each piece is considered carefully, either by a Banshee editor or one of our experienced readers. An enormous amount of promising work arrives, difficult decisions are made. We appreciate every submission, but some pieces grab us immediately. If I happen upon something spectacular, I can feel invigorated to the point of giddiness. I’ve lost sleep, fretting about losing stories to other journals before we finalize the line-up.

When I read a submission, I see two versions – the document in front of me and how it might look with editorial input. While competitions often favour polished work, literary journals are all about possibility. That’s not to say that writers should send unfinished work off to magazines, but some writers need help realizing their potential. We approach the inbox with an open mind, showcase a broad range of writers and styles, and have no focus beyond excellent new literary work. We rarely commission; most of what we publish comes from submissions. Maya Kulukundis, Finn Dunne Leavy and Jess Worsdale are just some examples of spectacular new talent appearing in our latest issue, Banshee #16. Want to read the best new writing before anyone else? Check out literary journals. 

Sinéad: What would you like to see more of in the Irish literary scene?

Laura: Investment. The Irish government sees a staggering return on its investment in literature, the scene is certainly having a moment, but there’s a scaffolding of overstretched, undervalued labour propping it up. Like many people, I think a more diverse range of voices is needed, and these two things are connected. The current vibe should be celebrated, absolutely, but protected and augmented, too. 

I’ve mostly found the scene exceptionally supportive; the talent on display is dazzling, veterans are quick to help newcomers, and you can’t beat an Irish literary launch – for some of us, it verges on utopian. But we desperately need a zero-tolerance approach to problems like bullying, harassment, and bigotry in the arts. Something like Universal Basic Income would transform the lives of artists, increase diversity in non-linear industries, and help address toxic behaviour. A sense of security not only facilitates the creation of art, it also enables artists to advocate for themselves and their peers. Programmes and policies, even at their best, are just flimsy plasters on the gaping wound of imbalance – basic income is a chance at a suture. I’m not a recipient of the Basic Income for the Arts Pilot Scheme currently in progress, but I’m electrified by the possibilities it represents. More of that, please.

Sinéad: Do you have any advice for writers when it comes to dealing with rejection?

Laura: Rejection is something you are going to experience if you want to publish work. Writers deal with rejection in various forms almost constantly. Writers you admire are declined by journals, residencies, festivals, fellowships, and funding bodies. Their books are rejected by uninterested media outlets; their cover ideas are rejected by their publishers; their documents are rejected by their uncooperative home printers. Rejection has stung less the more I’ve encountered it, but I don’t see it as a weakness to be affected by it. It means you value your work and the outlets you’re submitting to. Some contributors glide into Banshee on their first try, but we often accept writers after multiple passes. A rejection is a hazard of the job, not a termination notice. Hope for the best, aim high, allow yourself to be temporarily devastated if things don’t work out, take a break from it all if you need to, pick yourself up and carry on. 

Sinéad: How do you feel it’s important to support artists, and how does Banshee reflect this?

Laura: Support for artists begins with valuing their work. Banshee has paid writers since day one, and we’re always striving to increase our journal fees and book advances. We actively seek out and nurture new talent. We support authors beyond the whirlwind of release; books can take off at any time, we’re interested in keeping work in print. We cover expenses for events, where possible, and throw a cracker of a launch party. We put our books forward for prizes and festivals; we hustle for opportunities. We’re a small, part-time team, but we try to give our titles the best possible chance with the resources we do have. When energy and care go into a book’s production, distribution, and promotion, it opens doors for the author. On an individual level, people can best support writers by buying their books from independent bookshops and borrowing from libraries. They can also subscribe to magazines like Banshee and Sonder. Every literary journal subscriber is a patron of the arts. 

Sinéad: Can you give any encouragement or advice to writers at the early stage of their career? 

Laura: Engage with the editorial process, but not at the expense of your instincts. Publishing is a collaboration, not a courtesy; you and your work deserve to be treated with respect. Mark every victory, however minor. Back up your stuff. The industry can be brutal at times, but the industry is separate from the community – embrace community. If you don’t have the time to write, ask yourself if the problem is lack of time or lack of boundaries. Protect your creative space and the energy you devote to it with a freakish intensity; everything else is ornamentation.

About the Editor

Laura Cassidy is publisher and co-editor at the literary journal and small press Banshee, where along with her co-founders she was named a 2021 Bookseller Rising Star. Her novels for young adults were published by Penguin Ireland and she received a Literature Bursary Award from the Arts Council of Ireland in 2021.