Everyone should know about zines. I want people’s living room shelves overflowing with zines the same way they do with books. I want everyone to proclaim they’re authors because they’ve made a zine before, hopefully many. I want zines built into every student’s curriculum. This syllabus grazes the surface of why I think and want these things through three of the main steps in creating a zine: FOLD, CUT, and BIND. By the end, I hope you’ll be itching to do all three (and more) to make your own publication.

What even is a “zine”? Pronounced like the end of maga-ZINE, at its most basic definition it is a self-published, small-run pamphlet. From there, defining zines becomes tricky, which is simultaneously part of their charm and what sometimes makes them hard to grasp. 

The most common format for a zine is a collection of letter-sized, 8.5” x 11” pieces of paper folded in half and stapled to make a small booklet. They can be handwritten, drawn, painted, photocopied, digitally formatted, laser printed, one-of-one collages, or a combination of all these approaches. The paper size could be conventional or custom, including nontraditional shapes. Zines can be bound by a sewing machine (my personal favorite), a handsewn saddle stitch, or spiral binding. You can even fold and cut a single piece of paper to create a zine that requires no binding at all. You’ll find a one-page zine guide at the end of this Syllabus, but here are more resources on zinemaking methods if you’re particularly eager: 

An introduction to zines (and zine-making) by The Public
Outside the Lines: Digital Zine Design
Zine Construction 101
Zine Making/Putting Zines Together
DIY Saddle Stitch Bookbinding Tutorial

Beyond the endless ways to construct a zine, the subject matter can be absolutely anything, perhaps due to the fact that they’re self-published and have no barrier in sharing them with the world. They’re a wonderful vehicle for anything from artists sharing their work to organizations disseminating information and resources, both in an easily produced and distributable medium. The Library of Congress includes the following in their definition of zines:

“Zine creators are often motivated by a desire to share knowledge or experience with people in marginalized or otherwise less-empowered communities.”

People have been making their own pamphlets for hundreds of years. I’ve always considered “Common Sense” by Thomas Paine (published in 1776) as the first zine. Think back to learning about the Revolutionary War in elementary school – “Common Sense” was the pamphlet credited in spreading ideas against the rule of the king and served as a major catalyst in the revolution. Zines are quite literally revolutionary!

While doing another round of research, I discovered there are even earlier zines: guides on how to practice witchcraft in the 1440’s. It makes sense that the marginalized women targeted in witch trials would find ways to spread what were often science-adjacent and healing-related tactics feared by the church. Later, guides on how to catch witches circulated, a guerilla tactic that can be seen used in more recent years by extreme political groups perhaps not usually associated with the voices zines typically uplift. Published in 1485 by Austrian priest and Dominican inquisitor Heinrich Institoris, “Malleus Maleficarum” (or “Hammer of the Witches”) was a pamphlet going into detail about sensational witch rituals, along with how to torture and execute witches. It became the second best selling book of the era only after the Bible.

Other famous publications like Martin Luther’s Ninety-Five Theses, Poor Richard’s Almanac, Federalist Papers, The National Citizen (a women’s suffrage document), and The Communist Manifesto can all be seen as early zine-adjacent publications. The term “zine” originated around sometime in the Great Depression Era when “fanzines” began circulating of early sci-fi fan fiction writing. The Comet, released in 1930 in Chicago, is usually cited as the first real zine.

Zines also played a large role in the Harlem Renaissance of the 1920’s. During this time they were called “little magazines”. From Book Riot:

“…the little magazines allowed space for not just poetry and prose, but also for essays of radicalism, of experimental writing, and for space for subversion. Many of the magazines included critiques of not just the established (read: white) culture, but they also were unafraid to comment upon the work of other black leaders. Little magazines were founded by individuals or small groups of creatives, and they were bastions of independence from the established literary culture.”

Read “Fire!! Devoted to Younger Negro Artists” for free here.

The little magazine movement was an early predecessor to the punk movement of the 70’s and 80’s and—my personal introduction to zines—the Riot Grrrl Movement of the 90’s. When the mainstream media refused to promote punk artists and shows, the musicians and fans took to circulating their “radical” (which was just anti-establishment) stories and ideas on their own, mostly utilizing Xerox copy machines to produce many copies quickly and cheaply (and in an accessible way). The Riot Grrrl Movement utilized the same means to critique the marginalization of women and femmes within the punk and grunge movements, spreading feminism and advocating for the bodily autonomy of women in male-dominated spaces.

Information is powerful—there wouldn’t be numerous examples of book bans and burnings or censorship if it wasn’t. Whether collaged and photocopied or meticulously designed on a laptop, housing text only or covered in a combination of all art mediums, or anything between, zines continue to be a means of sharing underserved voices, resources, and information that the mainstream media overlooks.

In June 2023, I put together an immersive exhibition called “ZINES ARE QUEER!!” In addition to explaining what zines are and showcasing queer creatives, this exhibition made the argument that just as queer people refuse to adhere to established ideas of sex and gender, zines refuse to let institutions dictate what is published and shared—meaning the two are intrinsically linked and that zines are, in fact, super queer. (On a side note, I was thrilled when I saw the syllabus Gayming 101 by Hannah A. Matangos in August. She makes a similar case for video games being inherently queer, which I loved.)

One of zines greatest functions is connection. During the pandemic, I created a zine called Moody to share art and words and creations with people when we couldn’t do so in person. Pandemic aside, zines are hallowed, archival objects to me. In a world where convenience reigns, slowing down to spend time with possessions and to see them as having soul is lost on many. Most zines you’ll encounter are unique and individually handled and cared for by the person (or people) producing them, at least in some small way. To me, every print is a tiny victory against mass production and consumerism. The souls of zines lie within building windows into ourselves and others that help us connect to both. Of course books (and a lot of other things) can do this, but you can’t tell me you don’t feel something special when you hold onto a painting that you know was made by hand and is one of one. Or a vegetable that you know is from a small garden in your friend’s backyard. Or a dress your grandmother sewed by hand. There’s a sacredness to it.

You never have to look too far in your community to find a zine maker or press or the like. I collect zines from everywhere I go, but most of my favorites are close to home. Queer Zine Archive Project (QZAP) is a Milwaukee-based “living history” archive of queer zines, providing free access to hundreds of zines in their online database. Both The Bindery / bearbear (Milwaukee, WI) and Communication Madison (Madison, WI) have community memberships for folks to use laser printers, risoprinters, and other professional equipment and supplies for zinemaking, in addition to publishing community-based zine projects. Based out of Chicago, Half Letter Press is a small press aiming to publish booklets of work and projects having difficulty finding the support to be funded and distributed by mainstream resources. They utilize a combination of laser and risoprinting and have a number of publications I particularly enjoy focusing on the publishing industry and book waste. Ashley Hartman Annis (Madison, WI) is a full spectrum birth worker and sex educator who utilizes simple photocopied, handwritten zines (usually mini one page zines at that) to provide accessible, queer-friendly, and cheap safer sex and birth education that most of us weren’t lucky enough to receive in school. I could go on and on about zines and zinemakers and collectives and bookstores I love, so here is an abridged list of favorites:

Breadbox Project by Borealis
Woodland Pattern
Lion’s Tooth
Quimby’s Bookstore
Nox Library
ZINEmercado
Braided Publishing
Brown Recluse Zine Distro
Pitymilk Press
Queer.Archive.Work / Binch Press
GenderFail
Zoë Pulley
Flatlands Press
Secret Riso Club
Inga Books
Jewish Zine Archive
Ulterior Zines
DeZiners

I’ve been fortunate enough to teach teens about zinemaking and lead them in creating their own numerous times now. One of my favorite workshops was with a group of teens in a program fostering growth and connection via plants, the environment, and healthy living. They were tasked with researching different environmental topics and presenting their findings, along with actionable ways to help, in zines. Approaching a research project through a creative medium instead of a more traditional paper or powerpoint ended up fueling new ways to explore their topics. The students made illustrations and diagrams, surveyed their classmates, and even wrote poems inspired by their content. Those particularly inspired by certain mediums made full-color, hand drawn illustrated covers and additional zine holder sleeves plastered with nature collages. My hope is that at least one of these students is inspired to make another zine in the future, maybe even ask a teacher to make one fulfilling an assignment.

I have two other hopes for you, reader, as you approach the end:

1. You find zines to be [insert positive adjective(s) here]*. 

*A few of my favorites: cool, radical, queer, accessible, charming, powerful.

2. You want to make your own zine.

If #2 is true for you, you’re in luck! Below you will find a how-to guide on how to create your own one page mini zine using a piece of paper, scissors, and any sort of writing utensil or medium you’d like. If you’re so inclined, share your final result with me via @mmurrod on Instagram or melissamurschrodriguez@gmail.com. I would love to see them.

How to Make a One Page Mini Zine

Sources:

Introduction – Zines at the Library of Congress.

How Thomas Paine’s ‘Common Sense’ Helped Inspire the American Revolution | HISTORY

A Brief History of Zines and Why You Should Make One | by Alanna Stapleton

Gayming 101 – Syllabus

Witch Trials & Witchcraft – Feminism & French Women in History: A Resource Guide

Get To Know The Little Magazines of The Harlem Renaissance

Witchcraft pamphlet: A Rehearsal Both Strange and True, 1579

The First Book of Illustrated Witchcraft – 15th Century Visions

Melissa’s syllabus references Gayming 101, a syllabus by Hannah A. Matangos.