| Panorama has given my poem wider readership |
| My dream is to become a successful author one day. After realizing how much more experience I would need before I approached a publisher about a debut novel, I decided to focus on short stories through literary journals. Panorama is one such journal which has graciously accepted my work. Thanks to them, I am building confidence, skill, and credibility in the literary world, and I am eternally grateful. Their international scope is extremely valuable, and I'm excited to work with them in the future. |
| Panorama is one of those magazines to publish my rare short story. I am humbled by the acceptance. |
| Panorama has pushed me to contemplate on my writing to a level I have never thought to go. Writing has not been in my professional art form, but attempting to write something worthy of the topic at hand, from Panorama, gave me the scrutiny to read and reread what I have written. Editing is scary. Publishing is scarier. Panorama gave me the momentum to solidify the jumble of words that needed to become “writing”. Many thanks to the editors. Many thanks to the future readers. |
| Panorama truly is a journal after my own heart. I am in the early stages of transitioning from writing as a literary critic/ecocritic who published in academic journals and presses to a writer of creative nonfiction who publishes in literary journals and magazines. As someone who teaches and studies placed-based and environmental literature, Panorama has been a wonderful resource, both for introducing me to works that speak to my personal and professional interests and in being an open source publication that I can integrate into my courses. Now, Panorama takes on a new role in my journey, as it gives me the opportunity to share my creative nonfiction and helps reaffirm that I am on the right path in this new-to-me endeavor. |
| Panorama brings subjects to me that are often unfamiliar but also even when familiar are presented in different guises. I look to Panorama for new insights and introductions to people and themes I either know very little about or am hungry to know more about. I am never disappointed. |
| I especially appreciate the international perspective of Panorama Journal. Some might argue that all travel journals are international, but I think that Panorama's internationalism is broadened by the magazine's ability to not center just one cultural perspective or one geographical region over another. I think the magazine demonstrates how place informs character and how the fragility of our current natural environment affects all of us. |
| The editorial suggestions received on the two stories that I've had published in Panorama have been very helpful. |
| Panorama has aided me in my writing life to focus on travel as a significant theme in my writing, since it is such a passion. |
| It has been a pleasure to publish my first piece about Nature Writing on the esteemed Panorama Journal. Either the theme of ecology chosen for this issue or the variety of genres to write on has ignited my passion to unleash my pen and write about a real experience lived in Nature, with Nature and for Nature. The variety of genre options provided by Panorama Journal motivates me to write about what I feel more comfortable with. Believing that more freedom of choice means more creativity and originality pushes me also to write about my Nature/Travel experience, vehemently. |
| i've been published several times since. no one since has taken one iota of time to offer criticism or feedback. this is something that sets Panorama far above the rest. i will know i've written something worth reading again when another editor offers their time and works with me to make my piece shine ✨ |
| Panorama has been pivotal to the first steps of my writing career. I was looking to submit to literary magazines and journals to get used to other people reading and editing my writing before beginning my Creative Writing course. I was quite nervous, but Vimi Bajaj's edits were fair and delivered with great care. Additionally, I didn't feel discouraged from asking any questions about the process or the edits. My work has been greatly improved through this process, and my experience with Panorama has laid a wonderful foundation from which my writing can grow. |
| I especially appreciate Faith Adiele as one of the editors and her selecting pieces from a decolonizing travel perspective |
| Writing for Panorama allowed me to combine my interests in creative nonfiction, travel writing, and public history in one piece—I’m grateful for that opportunity. |
| Discovering Panorama at random, and very late in my life as a global traveller, the work within it helped me to begin to capture some of my experience in words and I am honored that my first attempt has found a home here. |
| Panorama was recommended to me by an editor a few months ago after he rejected a pitch of mine. He directed me to Panorama because I was ocassionally pitching stories that explored a topic without having a "newsy" tie-in. After reading the journal in earnest, I knew I wanted to contribute to Panorama. I love the broad definition of travel used by Panorama, and the journal's interest in processing the periphery of travel experiences through writing. I am honored to have had one of my essays accepted into the latest issue.
I write a weekly essay on Substack, which you can subscribe to here: https://ryleygraham.substack.com/ |
| Thank you for publishing my poem. I do have a book length's worth of poems published in journals, still it's extremely difficult to get work published, it's so lovely to receive an acceptance letter. To feel seen. |
| I'm honored to have my writing published in Panorama because of its wide-ranging perspective on travel, journeys, and the ways we can write about the lives we live as well as those we encounter. I felt very gratified to have my piece nominated for a Pushcart Prize in 2023. It's a pleasure to have my work appear in a publication that has such an international audience. Thank you! |
| My poem featured in Panorama was significant for me as it was a pivot back to poetry. |
| Panorama is a uniquely interdisciplinary and intertheoretical journal that provides excellent dissemination opportunities for practitioners and academics alike. The staff are highly efficient, helpful and amiable. |
| Panorama has a unique role in the literary landscape due to its focus on place-based work, the writing that many would call 'travel writing'. What Panorama does is invite both readers and writers to see all places as an opportunity for a journey, even if it's a writer's own home town. The journal elevates a variety of voices and perspectives, leading to unexpected and revelatory examinations of places and environments. It invites writers to travel within, whether they are on the move, visiting a place in memory, or imagining a place in the future - and then it invites readers along for the trip. |
| Panorama published one of my travel pieces, and I was thrilled to have it be housed in this wonderful journal. |
| Before the Covid pandemic, I was Panorama's Literary Ambassador for Panjim (a lofty title, but it meant a lot!). The plan was to write more but the lockdown derailed everything. I loved writing this letter for Issue 5 and I hope to contribute again soon.
https://panoramajournal.org/issues/issue-5-lost/lost-letter-from-panjim/ |
| The idea of travel, in my mind, suggests a level of comfort and potential that has been intermittent in my life. As a child, I took for granted that people would take me to interesting places within and beyond my native Canada, and that I could and would go anywhere in the world in my life. The horizon seemed unlimited. My first serious challenge as a traveller came in my senior year in high school, when I was selected to go on a year’s exchange to Australia--and promptly came home after three weeks of agonizing homesickness. In college, I dropped out of the French major program before the third-year semester in France. Zut alors! I married young, and my husband and I travelled across Canada by train to settle in British Columbia, where we have resided for over three decades. I have travelled “back east” to Ontario, Quebec, Nova Scotia, New Brunswick, and Prince Edward Island several times over the years, and (rarely) to the United States for work and leisure. With our two teenage daughters, my husband and I visited Cuba a couple of years ago: a unique trip for which (believe me) we are still paying the bills. Going through times of scarcity, especially as one gets older, can narrow one’s focus as day to day worries and/or a sense of living from paycheque to paycheque with nothing left over for luxuries. So when friends of ours invited us to Palm Springs this past winter, we eagerly accepted; little did I know that this trip would prompt an existential crisis for me. In the midst of it, seizing a quiet moment with my laptop, I came across the call for “survival” stories from this wonderful magazine. I found the theme and the magazine itself both uplifting and inspiring: exactly the right remedy to transcend the tribulations and anxieties of daily life, and to enter the kaleidoscope--indeed, the panorama--of adventure. Writing the story I submitted here was a lifesaver for me--and I hope that readers will enjoy it, too! I am thrilled to be part of such a worthwhile enterprise. |
| Panorama is the first publication that has selected my creative writing (in this case, flash fiction) to feature in an issue. This has given me an incredible confidence boost and the encouragement to dedicate myself to my creative writing. I feel very privileged that my work is being featured in Panorama. |
| I discovered Panorama through ChillSubs. I'm amazed at the breadth and quality of the work on the site. I'm still exploring. |
| I love that Panorama provides a space for travel journalism, creative nonfiction, and fiction to sit together in a melting pot of writing from passionate, clever creatives. The travel stories which have impacted me the most throughout my life have always blurred the line between fact and fiction, and while educational travel journalism is an absolutely invaluable part of this industry, I think it's important to embrace the way travel writing can often lends itself to self-mythologising, and to leave space for broader, less easily definable stories to be told. |
| Panorama is an inspiring publication that values creative storytelling over algorithm-driven content. I greatly treasure this space and it's growing influence in the literary landscape. |
| This is my first published review of an art exhibition. Writing this review enabled me to think about art, and the specific artist John Singer Sargent, in a new way by exploring the narrative of the exhibition and focusing on the ways Paris affected Sargent's career. |
| Panorama’s call for work on Paris did more than invite a submission, it opened a portal. It prompted a return, not only to a city I had once wandered through, but to a version of myself I thought I had left behind. In writing for Panorama, I began retracing my steps through that city—not just physically, but emotionally. The piece I wrote was not simply about a place. It became a dialogue between memory and presence, between the map and the myth.
What Panorama offered—uniquely—was permission to blur the lines between travel writing, memoir, lyric essay, and witness. Their framing of place as something felt, endured, and interrogated gave me the space to write into complexity: to speak of grief without apology, to let geography become intimate again. In revisiting a city, I was revisiting loss. The bridges and boulevards of Paris became echoes of what I had carried, of what I still carry.
This is the gift of Panorama: it reminds writers that geography is never just location—it’s lived experience. It’s memory and myth. It’s what remains after history has moved on. The journal doesn’t just ask “Where have you been?” It asks, “What has stayed with you?”
And perhaps most importantly, Panorama believes that words matter. That poetry matters. That to name a place—truthfully, lyrically, fiercely—is a political and emotional act. For me, writing for Panorama became an act of reclamation. I was not just writing about Paris. I was writing with it. And in doing so, I was reclaiming language, memory, and presence.
As someone who moves between cultures, histories, and conflicts, I rarely find a literary space that can hold both the personal and geopolitical at once. But Panorama does. It doesn’t flatten complexity. It invites it. It encourages writers to explore place not only as destination, but as dialogue—a conversation between past and present, body and landscape, silence and voice.
Panorama reminded me that to write of place is to witness. That how we remember matters. That the language we choose—its rhythm, its honesty, its resonance—is part of what allows stories, cities, and selves to endure.
In a world that often moves too quickly, Panorama creates a space for reflection, return, and poetic reckoning. I’m grateful for that. We need it.
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| Panorama provides opportunity and platform to share my experiences with the world while also allowing me the chance to vicariously experince the world. |
| I think Panorama allows me and other reads to understand adventure and travel and how it coicides and overlaps with multiple experiences of identity and belonging. It serves as a generous literary focus and more than that allows readers and writers to examine our emotional, political, and cultural landscapes in all of its disharmony and tensions also. I appreciate Panorama as writers I really respect like Devi Laskar and Faith Adiele have modeled how we can pay closer attention to Black and brown communities, migrant communities, in ways that express tenderness and humanity often overlooked in predominantly white and male-dominated travel narratives. We can find the contexts of places visited for the first time and amplify older uncles, long-time family owned businesses, a favorite vendor in a way that isn't transactional but i insightful, curious, and reflective. I think Panorama can truly help us envelope how we across the world examine and evolve beyond borders all while addressing systemic realities and local and/or traveled glories. This is important in a time where new comers and crossing borders is highly monitored and policed. How do people get to learn and experience a new place safely, thoughtfully, honorably? What foods and practices aren't necessarily discovered but learned about, uplifted, celebrated? Panorama does this and can do this each feature and issue. |
| An attentive eye to the sometimes over-looked, Panorama exists to bid us dwell. |
| Panorama reminds us how deeply personal and moving writing about place and travel can be. In the vast global literary landscape, it best embodies and exemplifies the old adage- to write about place is to write about people and their lives. And to write about our homes and other locales, which I did in my submission to Panorama, helped me explore and express some of the smallest yet most recognizable and striking parts of my being. |
| I'm so thankful to the staff at Panorama for giving me an opportunity to share my stories with you. |
| Panorama has changed how I understand “travel writing.” I came to the journal first as a reader and found, immediately, an ethic I could live with: attention over ownership, encounter over extraction. The work you publish insists on the difference between measuring minutes and miles—and refusing to measure belonging. It treats places not as scenery but as protagonists with histories, frictions, and voices. That stance has quietly but profoundly recalibrated my own practice.
Panorama gave me permission to write toward hybridity without apology. Reading your fiction alongside essays and dispatches, I saw how a piece can be travelogue-shaped yet rigorously literary; how a narrative can hold field notes, maps, clinical observations, and lyric apertures in the same body. Your ENCOUNTERS framing in particular made room for a story that is both witness and question. It let me situate a journey inside an ethical dilemma and to prioritize care—documentation, consent, naming—over spectacle. That felt not only aesthetically right, but responsible.
I’m grateful for how Panorama’s editorial sensibility foregrounds accuracy and humility. The attention to place names, languages, and the lived texture of a location encourages a writer to slow down, verify, and listen. Your guidelines—open to hybrid work, to speculative approaches, to science-inflected stories that still answer to reality—invite experimentation without abandoning truth. That combination is rare. It helped me find a voice that can carry clinical detail and wonder at the same time.
Panorama also provides a counterweight in the literary landscape to the extractive travel writing I grew up with. Instead of treating movement as conquest or consumption, your pages model movement as dialogue and stewardship. The journal makes room for multiple Englishes and for translated—and translatable—worlds. I’ve learned, issue by issue, how to approach a place as a guest: to get the names right, to acknowledge limits, to bring back weather rather than trophies. Even the smallest editorial choices—what to italicize, what to leave in the language of the land—teach a reader to respect what does not belong to them.
On a personal level, Panorama has given me a community to aspire to: writers and editors who understand that the map is not neutral, that borders are narratives, and that non-human lives have agency worth honoring on the page. You publish pieces that admit uncertainty and still proceed with care. That balance—tentative, precise, humane—has become my north.
In short, Panorama has been both a compass and a workshop. It has shown me that travel literature can be intellectually serious, ethically grounded, and formally adventurous—without losing clarity, curiosity, or joy. Because of Panorama, I write more slowly, ask better questions, and try to return what I borrow, even if what I borrowed was only air and light. Thank you for modeling a way of moving through the world, and a way of writing about that movement, that leaves places—and readers—more intact. |
| Having browsed the journal previously, I was impressed by its scope and quality of writing selections. When I had finished a non-fiction piece I felt was worthy of submission to the venue, it seemed appropriate to offer it for publication. Happily, the staff found it to their liking. |
| Panorama allows me to step into worlds unknown, to explore places I've never been through vivid writing from the comfort of my farmhouse in middle Georgia (USA). |
| It's meant that I play around with some ideas and push boundaries that I've been thinking as an ethnohistorian. A piece of work that's literary has no limits whereas a piece of work that's to be published in an academic or professional publication must be based on fact. |
