The Long and the Short of It is a magazine that operates with a clear structural conceit: it publishes poetry in two distinct registers—the short and the long—and its current call for the "Addendum" issue asks poets to engage with the marginalia of experience. The theme is not merely a prompt but a curatorial lens: contributors are invited to consider what gets appended, revised, or excluded from the main text, whether that text is a classic novel, a historical life, or a personal history. The magazine's platform on Substack imposes a specific material constraint—left alignment, minimal indentation, and limited internal spacing—which means that accepted work must function within a clean, screen-based reading environment. This is not a limitation so much as a defining feature of the publication's aesthetic: clarity, precision, and an awareness of how poetry lands on the digital page. The submission guidelines are unusually precise, and they signal the editors' respect for both the poet's time and the reader's attention. Short poems must be 15 lines or less (excluding stanza breaks) or 300 words or less for prose poems; long poems must be 45 lines or more. Poets may submit up to three poems, each beginning on a new page, single-spaced in 12-point Times New Roman or similar. There is no fee to submit, and no prize is offered—this is a publication opportunity, not a contest. The magazine does not specify a payment model in the provided information, so contributors should inquire directly if that is a deciding factor. What is clear is that the editors are looking for work that understands the addendum as a form: the glossary, the correction, the afterthought, the results-may-vary. They want poems that make the reader want to stick around for the credits. The curatorial vision here is one of structural intelligence. The "Addendum" issue is not simply a themed call; it is an invitation to think about how poems themselves function as addenda—to traditions, to histories, to the self. The magazine's dual commitment to short and long forms suggests an interest in range, but also in the specific pressures of each length. A 15-line poem and a 45-line poem do different work, and the editors are clearly attuned to that difference. For poets, this is an opportunity to place work in a publication that takes formatting seriously and that values the kind of precision that Substack's layout demands. It is a call for poems that are not merely written but designed for their medium.