September Recommendations

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Image: Ian Sane

It’s back-to-school season for teachers and students alike, and I know as well as anyone that it’s hard to find time to read lit journals for fun when you have so many other responsibilities. But I’m making a commitment this school year to squeeze in time for good writing here and there, and I hope you do too.

I have two picks this month, Wigleaf and South 85. I’ve chosen these two journals because they are almost complete opposites in terms of the length of their pieces. As someone who gravitates towards writing really long stories or flash fiction, I appreciate that there are journals catering to these niches.

Wigleaf is a journal that publishes “(very) short fiction” of 1000 words or less. Their contributors also write letters to the journal published alongside their stories which are as imaginative as the stories in the first place. These letters are quirky, puzzling, and poetic. For example, in one letter, contributor Brianne Kohl laments how she’s not sure if she belongs in the wild west. I’m not sure how writers get the inspiration for these little notes, but they are certainly entertaining and unique.

In Wigleaf’s latest issue, I was amazed by just how much ground their stories covered in less than 1000 words. The short story, “Preservation” by Tessa Yang, takes us into a future in which people sign up to sleep away years of their life in a coma for science. I also liked the story, “The Magician” by Kara Oakleaf, which features a delightfully whimsical child who plays magic tricks on his parents from infancy. This issue culminates in a featured story by published author Amber Sparks, who imagines what Zeus would be like as a football-watching American dad. Most of their submissions delve into the fantastic and surreal, weaving impressively developed narratives for such short pieces. Wigleaf takes submissions during the last week of each academic month, so that’s coming up this week! Check out their submissions page for more information.

I discovered South 85 from my writer friend Mary Jane White who has an excerpt from  her memoir about raising a son with autism published in their latest issue. South 85 is a university-affiliated journal, run by the low-residency MFA program at Converse College in South Carolina, publishing fiction, non-fiction, and poetry. It is one of the few online journals I’ve encountered that does not shy away from publishing longer pieces.

In their latest issue, poet John Nizalowski  presents the tragic contrast of the mundane, despairing reality of a gas station near the Hopi Reservation and the nearby ruins of ancient civilization in “High Noon at the Hopi Gas Station.”  I particularly like the final turn of phrase, “the smell of colonial commerce.” In the nonfiction piece, “Behind the Walls in the Land of the Pure” the Pakistani-Canadian author, Mariam S. Pal describes her experiences hanging out at luxurious private parties in Pakistan, Lahore in the 1980’s, showing how her perceptions of Pakistan are overturned while she also debunks Pakistanis’ misconceptions of the West. Finally, I thoroughly enjoyed the short story, “The Buffalo of Sentinel Meadows” by Lawrence Cady, in which a music critic accompanies his biologist research wife on a fieldwork trip to Yellowstone, where they draw DNA samples of ancient bacteria from hot springs. While taking the samples, the narrator lets his mind wander through the memories of his relationship with his wife. I loved the slow build-up of emotion in this story, which is so rare to find in much of the fast-paced fiction published in the age of the Internet.

South 85 is open for submissions until November 1. For more information on submitting to South 85, check out their submission guidelines.

 

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August Recommendations

 

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Image: Tony Hisgett

This summer has been the summer of many tabs. I always have at least 10 tabs open, and about half of them are literary journals. Part of what inspired me to come back to this blog was the renewed excitement I felt for exploring the pages of the internet following a writing workshop I took last spring. My professor, the poet Greg Glazner, asked us each to present on a particular writer whose “poetic prose” we were really fascinated by (the them of the class was “Poet’s Prose” but we read a range of texts from prose poems to flash fiction to creative nonfiction). He requested that instead of uploading pdfs of excerpts of the writer’s work, we post links. At first I was a bit skeptical of his insistence on links, since it was sometimes less convenient to find links to a person’s writing on the web than to just make a copy of pages of a book from the library. But Professor Glazner has this theory about links, that they allow us to discover more things about the writer and his or her context and also lead us on these interesting quests through the internet to find things we never knew existed.

I was presenting The Pillow Book by Sei Shonagon, a Japanese writer who lived in the Emperor’s court in the 10th century, so initially I was skeptical that I would be able to find her work published online, and I wasn’t sure if giving a link would add anything to the conversation. However, when I searched for Sei Shonagon, I stumbled upon a really insightful and informative essay by Meredith McKinney on translating The Pillow Book in the Kyoto Journal.

Ever since, I’ve been considering just how cool it is that this whole vast repository of writing is available to us for free online, and I’m continually inspired whenever I find more online journals publishing great work. Here are some of the journals that have recently caught my eye:

The Southeast Review

The Southeast Review’s journal is technically not online, but they do post fiction, nonfiction, interviews, and poetry to their “online sister,” SER TWO (which stands for This Week Online). There I found some really great writing during the past month including the short story “Ruth’s Red Ale” by Ann Stuart McBee and the nonfiction piece “Two Boyfriends” by Lareign Ward. McBee’s story ferments language in exciting ways (pun intended), and I was dazzled by the sensory details in her piece about an impoverished couple home-brewing beer while life falls apart around them. Ward’s piece depicts the strange untethered grief of a narrator who has recently lost a lover but doesn’t quite know what her future with that person would have been or if they even were heading for a future together.

The Southeast Review is affiliated with Florida State University and is currently accepting submissions in fiction, nonfiction, poetry, and book reviews. You can find out more information about their submission guidelines here.

 

The Yemassee Journal

This journal, which is run by the University of South Carolina, recently published its first online issue, which I perused. Some of the highlights from that issue include the poem “I Tried to Be a Good Mexican Son,” by José Olivarez, a prose piece called “The Saving Apocalypse” by Matthew Hummer, and “Three Poems” by Shaina Monet. Olivarez’s poem depicts the speaker’s failure to live up to his mother’s expectations and also serves as a sweet tribute to the speaker’s mother, who clearly loves her son despite his shortcomings. It’s humorous, straightforward, and filled with delightful lines. Hummer’s piece, which I think is nonfiction (although it’s not labeled) is a lament of the demise of the print newspaper and also discusses the paranoia the narrator experiences while trying to not be tracked by technology, a paranoia that feels familiar to anyone with a smartphone or a social media account. The essay slips into its subject indirectly, slyly, almost like it is is trying to hide something. Ironically, it’s online for everyone to read. Finally, Monet’s poems have a really interesting concept behind them: they are in the form of a “beau présent” which is when you take the letters of someone’s name and combine them into different words to create a poem. The form limits the writer to only using the letters available in the original word or words. Monet describes her reasons for doing this: each poem honors an ancestor of hers, persons of color who society didn’t deem worthy of recording. Her poems try to correct that injustice. The poems’ form leads to an interesting sense of circularity as you read the same letters come to life in different ways.

Yemassee is currently open to submissions of fiction and poetry. Here are there submission guidelines.

Split Lip Magazine

I like that Split Lip Magazine releases just one piece from each genre every issue. It makes reading an entire journal feel less daunting, and it will definitely keep me coming back to see more cool writing. In this latest issue, I particularly enjoyed the short story “Bound” by Belinda Hermawan and the nonfiction essay “Cary” by Lorelei Glaser. Hermawan’s story about fate and adoption drew me in from the start. The main character, a Chinese-American who was adopted, feels drawn to one of her cousins, and and that attraction is so well written that it didn’t come across as gross or weird. It was definitely original in its language and emotional intensity. On the other hand, Glaser’s story about coping with her son’s mental illness was a familiar narrative, but the details were fresh and cut to the quick.

Here’s information on how to submit to Split Lip.

I hope you enjoy these recommendations. Check in about a week from now because I have a flash fiction forthcoming in an online journal (not any of the ones I’ve featured), and I’ll be excited to announce that once it is published. I’m going to do my best to keep updating this blog at least once a month, but now that the school year is starting I will sadly have less time to peruse online journals and my tabs will be tucked away into folders, bookmarked for later. Until next time, happy reading and writing.

Scribophile

Happy New Year, everyone! As one of my New Year’s Resolutions, I’ve resolved to write biweekly updates to my blogs (every two weeks, just to clarify). So be on the lookout for more writing-themed blog posts in 2015!

I stumbled on Scribophile, an online writing sharing community that strives to create a social media platform for writers, while I was participating NaNoWriMo last November, since it is an affiliated website. Overall, I recommend Scribophile as the most comprehensive website for writers seeking feedback on their work that I have seen thus far. I think it has a lot going for it, and I recommend that you check it out. It is not perfect however, and its complexity can seem daunting, especially when you first join it. I’ve been using it for about a month now and I’m still getting the hang of it.

Scribophile is mainly a platform for sharing writing and connecting with other writers. Essentially, on the site, you can read other writer’s work and critique it, using various methods including “in-line” comments, or a form with specific questions about particular aspects of the work, such as its plot, structure, or characters, or a “free form” critique in which you write whatever you want. For each critique, you earn a certain amount of “karma” points. The number of points you receive depends on how long your critique is, and on a number of confusing factors including whether the work is in the “Main Spotlight” or not or whether you have added the author to your favorites. I haven’t quite figured out the way to maximize karma points yet, but even if you just edit whatever things you find interesting, you’re bound to get some points from your critique.

Once you’ve accumulated 5 karma points, you can post a work on the site. Each work “costs” 5 points, so once it’s up there, you have to start all over again building up karma points. You can also submit your work to a number of contests on the site, but that will also cost you some karma points. A “work” is usually no more than 5,000 words, so if you have a longer story or a novel, you can post it in chapters. This potentially allows for you to create a serial following, like on the sites JukePop and WattPad (see my article about them here). But Scribophile is not just for novelists. You can post short stories and poetry on it too. Once you’ve posted a work, you sit back and wait for the critiques to roll in.

One of things I really do like about Scribophile is that it is a website for serious writers. The critiques I’ve received on the site so far have all been pretty detailed and insightful. The karma points system creates an incentive for people to write longer critiques. Also once you’ve received a critique, you can give it one or more labels including “enlightening,” “thorough,” or “constructive,” and for each label, the editor will receive a few karma points (but not nearly as much as they get from the critique itself). When you receive these labels, it also increases your reputation on the site by giving you “reputation points.” Reputation points have no tangible benefit, as far as I can tell, but they represent your experience as an editor.

The site also makes you tick off an agreement saying that you will write constructive edits and will not just insult the writer and/or their work, which I found to be comforting. Obviously, it’s an honor system, but if you find a critique particularly mean-spirited, you can report it. Scribophile’s rules, while complex, do create an environment where serious, respectful editing gets done.

The site also contains forums, groups, and contests, really attempting to create a sense of community among its users. I still prefer to bond with writers in person, but it is nice to have that option online. It also acts as a quasi-social media site, allowing you to write message on other writers’ “scratchpads” and to announce publications. It also contains its own blog with writing advice, interviews with writers, and the site’s latest updates, and it has an “Academy” section with articles specifically written to help you tackle writing challenges. The amount of sheer stuff on the Scribophile website is a bit overwhelming, and I’ll admit I haven’t had time to sift through all of it. But I’m sure a lot of the resources on the site are really helpful.

The site does have some drawbacks, however. First of all, Scribophile is primarily used by people writing novels. This isn’t a bad thing of course, but the way that it’s site posts the newest chapters of writer’s works up for review on the “Main Spotlight” is a little strange. When you’re flipping through works to review, you will see novels that are on Chapter 21 or 39. How are you supposed to jump in and start editing from that point in a story you haven’t read? Scribophile tries to solve this problem by allowing writers to post summaries of previous chapters so that reviewers have some idea of what the hell is going on. But I don’t think reading the summary of a plot and then editing a chapter in the middle of it is very effective or helpful for the editor or the writer. So far I’ve tried to avoid editing novels that are very far into their plot, instead I’ve been editing short stories or novels on Chapters 1, 2, or 3.

Of course, if you have several hours of free time, you read all of the chapters that came before the one you want to critique (but by that time other people will have critiqued it and it will no longer be in the spotlight, meaning you get fewer points from critiquing it). Or, you can find some novels that you like that are in a nascent stage, add the author to your favorites, and then get updated every time he or she posts a new chapter. I personally think it’s far more helpful to edit stories knowing their entire context.

Secondly, Scribophile requires a good deal of patience and free time (luckily, I have both). Depending on whether you choose to edit stuff from the Main Spotlight or not, it can take you a while to rack up 5 measly points to post one chapter. In my case, it’s usually taken me about 3 critiques to gain 5 points. I think Scribophile did this on purpose, so that everyone is getting at least three responses to everything they post. But still, it means you have to spend a lot of time critiquing other people’s work.

Thirdly, the feedback you get on your writing from this site can be thorough, but it also can be a bit overwhelming. You can get opposing reactions from two different editors. Of course, this happens in any situation in which you ask people to review your work. But when I ask my friends who are writers to review my work, I know their work too, and I know, in general, when to trust their advice and when to ignore it. If you’re just getting random critiques from different people, it’s hard to know which suggestions you should consider. I’ve had a similar experience before in writing workshops. The difference, though, is that in a writing workshop, all of the writers are in dialogue with each other. They hear everyone’s comments on a particular work, and then discuss them, coming to somewhat of a consensus on it. Since, on Scribophile, you’re not required to engage with the other people who have critiqued the work you are critiquing, the website does not manage to replicate a workshop experience.

Still, these flaws are by no means deal-breakers. This site has a lot offer, and you might discover that you really like it.

An Interview with Emerging Writer Vanessa MacLellan

Vanessa McClellan

This week, we have an interview with an emerging writer, Vanessa MacLellan. She has published stories in Electric Spec, Pantheon Magazine, and Bohemia Magazine, and her first novel, Three Great Lies, a historical fantasy novel set in Ancient Egypt will be published by Hadley Rille Books in February 2015. Vanessa, whose passion for writing grew during her NaNoWriMo experiences, has developed her career as a writer through the Internet. I chose to interview Vanessa because I thought that her experience as a writer might give me and other writers insight into how to break into the online publishing world.

Q: What made you decide to become a writer? When did you begin writing?

Vanessa: I think that I started writing when I was five.  Badly, of course, but I remember pretending to read blank pages (I couldn’t quite write well at five) to my mother, making up stories with more adjectives than nouns.  As an adult, when I had a handle on real writing, I began writing stories based on a role-playing character I had created for a Dungeons and Dragons game back in 2002.  My creativity naturally spread from role-playing to writing.  Luckily, as I review those first short stories, I’ve gotten a lot better.

I don’t think most people “decide” to become a writer.  I think they just write.  I can’t pinpoint when I decided I wanted to become published, but it was probably about seven or eight years ago when I began to think “Wow, wouldn’t it be nice to live anywhere in the world.  I could support myself on writing.”  I’ve no idea if I can support myself on writing, but I’m willing to work hard to give it a shot.  Plus, I can live pretty cheap.

Q: I saw on your website that you have done National Novel Writing Month (NaNoWriMo) before. How has NaNoWriMo influenced your career? Did it help you develop as a writer? Did you find a community there?

Vanessa: All Hail NaNo!  NaNoWriMo was a huge influence in my writing career.  My first NaNo I completed a YA novel that taught me so much about character and plot, but the real lesson I learned was to finish what I started.  I’ve done NaNo nearly every year since that first one.  It’s relaxing compared to my usual editing work.  I can let my inner critic go and just write.

NaNo has many group meeting and write-ins, but I never participated in those.  The community I’ve developed is through my online world, where I cheer for blogging friends, or Google+ connections.  We urge each other on through tweets.  It’s nice, and almost addictive, to be a part of this global writing event.

Q:  When you send out submissions to online journals, how do you choose where to send your writing?

Vanessa: Well, it’s different now than when I first started.  Originally, I looked for themed magazines and wrote or modified something I had for their theme.  Sometimes I had something perfect for their theme.  Now, I have different criteria.  I research the journal’s reach: how many readers it has.  I submit to the more prestigious journals, or the ones that pay more pro-rates.  To be able to join organizations like the SFWA, you have to have so many professional publications and it forces authors who want to join to submit to certain publications. 

Q: How do you deal with rejection in the literary world when your writing is not accepted or published?

Vanessa: It doesn’t bother me much anymore.  I think of the numbers game publishing is: these magazines get hundreds to thousands of submissions, the chance that mine is perfect for that one slush pile reader in that one moment is slim.  So, it’s not personal.  Plus, the rejection comes in by email (if you’re lucky, so many don’t even bother sending you anything) and that’s as impersonal as you can get.

Sure, at first it hurts.  You wonder why it didn’t work.  You argue that they didn’t really read it; they didn’t get your genius.  But really, once you have a wheel-barrel full of rejection emails, the punch to the gut is weak.

Q: What work of writing are you are most proud of and why?

Vanessa: Ah, I love all my children!  But I’d say it’s got to be my debut novel, Three Great Lies.  Still, I read a chapter of that story and I smile proudly at it.  I love my writing voice and my characters.  Jeannette, my main character, has a lovely growth arc.  It’s a female introspective journey, much like the Wizard of Oz.  It’s great to see her finally Get It.  I hope that readers of this novel can learn what she learned.  Plus, it’s probably one of the few novels out there where a mummy is the romantic interest.

Q: Do you have any advice for aspiring writers, especially ones entering the world of online publication?

Vanessa: First: Research to see who does not allow simulations submissions and submit to them first.  It’s rough when you find a “perfect fit” but they don’t allow SS and you already have your piece out to 10 other places.  I rarely submit to places that don’t allow SS because I don’t have time to let my story linger with that magazine for 4 or more months.

Second: Keep Submitting!  Do five a month.  Ten a month.  It’s a numbers game.  Get it out there to as many magazines as you can. 

Third: Don’t let rejections or non-communication take you down.  It’s not a reflection on you.

Fourth: Don’t dismiss non-paying markets when you’re starting.  For one thing, your story is out there and being read.  Some non-paying publications have wide readerships and that has value.  But, don’t always give your work away.  You’ve put a lot of time into writing and polishing your piece, it deserves respect. 

Q: What are your favorite literary journals or online websites to read?

I don’t frequent too many websites.  I mainly read articles forwarded to me by my online writing community.  That being said, I do enjoy the Literary Midwife (http://www.newwritersinterface.com/), Marketing Tips of Authors (http://blog.marketingtipsforauthors.com/) and The Future of Ink (http://thefutureofink.com/).  Each of these writing blogs has great information on writing, marketing, and the future of the industry.  I’d recommend each of these if you haven’t read them yet.

For literary magazines, I tend to have a certain loyalty to those magazines that have published me: Electric Spec (http://www.electricspec.com/) and Pantheon (http://pantheonmag.com/). I also enjoy the Colored Lens (http://thecoloredlens.com/), Beneath Ceaseless Skies (http://www.beneath-ceaseless-skies.com/, and Spark Anthology (http://sparkanthology.org/excerpts/).  I tend to read from and talk about lesser known journals to help boost their circulation, but there is something to be said for the larger circulation publications.

I love it when I find that gem of a story that just drops your jaw and makes you dwell on it for days.  That is what writing should do, transport the reader, slip into their minds and take up a portion of it for a time.  I hope I touch people like that with my stories.  I guess, that’s every author’s dream.

I for one am definitely intrigued by Vanessa’s upcoming novel. I have soft spot for fantasy, as it’s one of my favorite genres to read and to write. I think it’s important for literary writers to not forget or diminish the entire ecosystems of writing out that make up popular fiction, including fantasy, romance, mystery, or crime writing. These genres have been present on the Web for a long time on various sites and in various forms. They are the early birds in the movement towards online publishing and online literature, and only now are literary publications catching up. At the same time, these genres continue to sell in print too, showing a model of how literature can continue to flourish when made available through different mediums.

For More Information About Vanessa

Visit Her Website at vanmaclellan.com

Sixfold

As promised, here’s a more in-depth explanation of how the journal Sixfold’s unique publication process works. On a side note, I haven’t been posting as often on this site because I just moved to France. If you’re interested, you can also follow my travel blog: assistantinalsace.wordpress.com. I promise to post more often on both blogs, once I’m more settled in.

What is democratic literature? Literature chosen by the people, for the people? The journal Sixfold attempts to answer these questions. An online journal that publishes poetry and short stories, Sixfold allows writers to evaluate other people’s submissions and to vote for the ones they want to be published. Here’s how it works:

It costs $3 to submit a manuscript to Sixfold. Once you submit, you are given manuscripts to read in your same genre. During the first round,  you look at 6, comment on them, and vote for the ones you like best. There are two more subsequent rounds after the first one. At the end of the three rounds, the three highest-voted submissions in each genre receive 1st, 2nd, and 3rd place prizes, and the submissions with the highest votes (the top 20 for fiction and the top 40 for poetry) are published in the forthcoming issue of the journal.

I personally think Sixfold is a great concept, applying crowdsourcing ideas to writing. Not only do you have the possibility of being published, but each writer also receives individualized feedback from all the other people who read their submission. So even if you do not receive enough votes for publication, you still get something out of the process of submissions.

What makes the journal seem so innovative to me is that it changes who the gatekeepers are for publication, but still makes sure there is someone guarding the gates. Instead of having editors who are, in theory, supposed to be experts on recognizing good literature, choose what is published, the writers themselves validate other people’s work. This is also a great chance for writers to become exposed to what other people are submitting to these journals. The only catch is that you absolutely have to participate in the voting and editing process in order for your submission to be eligible. I think that’s only fair.

One drawback that I could potentially see to this type of publication is that it is not “curated” in the same way as regular journals. In some journals, the editors choose a theme and specifically choose pieces for an issue that they think work well together, just one would curate a museum exhibit. But this type of selection isn’t possible for Sixfold. Still, I read some of the works from the Summer issue of the Sixfold and none of the pieces seemed particularly jarring when juxtaposed against the others. In fact, Sixfold benefits from the fact that its voting process cultivates a diverse crop of writing. I was happy to find that it seemed like voters didn’t just choose stories and poems that were all similar to one another.

Some stories I enjoyed from this past issue included “Century”, by Bill Pippin, a short story about a man visiting his father who has just turned 100 years old, and also a very different, quite funny tale called “Conversations With Dakota Fanning” by Zac Hill in which the author imagines an outing with Dakota Fanning and reflects upon the bizarre way we idolize celebrities in our culture. I also enjoyed reading the poems, which tended to seem more straightforward and accessible to me than ones I usually see in contemporary journals. Perhaps having a large group of editors leads to the selection of poetry that is meant for the “everyman” (and woman). In particular, I liked the poems by Jim Pascual Augustin including “The Man Who Wished He Was A Lego” and “The Photograph.”

When you’re choosing which submit to Sixfold, I would recommend choosing something that you think will appeal to other writers like yourself, and also a work that still needs improvement because the voting process will give you a lot of feedback on that particular piece. The next deadline for submissions is coming up soon, on October 24.

For more information:

Sixfold

Website: www.sixfold.org

Fall Writing Contests and Submissions

It has been a while since my last post in July, but I’ve been so busy this past month, I haven’t had a chance to blog. I’ve been writing a couple articles for different publications, and once they are published I will be sure to spam you with links to them, don’t worry. In the meantime, I’ve been checking out more literary journals online and otherwise. We are nearing fall, and it turns out there are some great literary contests with upcoming deadlines.

You may wonder, why is a writer telling me about these contests? Isn’t she in direct competition with me for these prizes? You are right, of course. But I’m a nice person so that won’t stop me from telling you about these contests anyway. If you do win one of these competitions and you learned about it from this blog, please tell people about my website, at the very least.

Without further ado, here are some of the contests and open submissions at literary journals this fall. Happy writing and good luck!

 

The Missouri Review: Editor’s Prize

Deadline: October 1st

Every year The Missouri Review offers the Jeffrey E. Smith Editor’s Prize in three categories: poetry, fiction, and essay. The first place winners in each category receive a whopping $5,000 reward. You can bet the competition is stiff for this one, but I would still give it a shot. The Missouri Review says on its website that it has published “the first short story of more than 100 new fiction writers.” One of those writers who got their start with a publication in The Missouri Review, is Julia Glassman, a novelist who I interviewed earlier this year. The cost of entrance for this contest is $20 ($23 if you submit online), but I think it’s worth it because you get a free subscription to the journal for a year with your submission.

For More Information: www.missourireview.com/tmrsubmissions/editors-prize-contest

 

Spark Anthology: “Monsters and Marvels” Contest

Contest Dates: September 15- October 1

The Spark Anthology is a journal that offers publication and compensation to emerging writers for high-quality writing. It was established by alumni of the California State Summer School for the Arts, which I attended for Creative Writing back in 2009. Its current contest, which starts on September 15 and has a deadline of October 1 is themed “Monsters and Marvels.” They are offering prizes in three categories: prose, poetry, and artwork. First prize for all categories is $500 and publication in the magazine, and the details for the second and third prizes are on their website. And there’s no entry fee for this contest. Here is what the anthology says they are looking for: “Like darkness and light, Yin and Yang, monsters and marvels are two sides of the same coin. Each entry should include both a monster and a marvel—though ‘monster’ and ‘marvel’ may refer to same element of your entry. ”

For More Information: sparkanthology.org/contests/seven/

 

Sixfold

Deadline: October 24

Sixfold is one of the most intriguing online journals I’ve yet to encounter. I stumbled upon it last week when I saw that one of my friends and creative writing colleagues, Nancy Nguyen, had been published in it. Here’s her short story, “Truck Stop” (It’s really good by the way). I checked its submissions page, as I always do when I come across a new journal. It turns out Sixfold is a crowd-sourced journal. I’ve been meaning to write a whole blog post just about this journal, and probably will, but here’s a preview: to figure out what writing goes in each issue, Sixfold asks writers to vote and rank other people’s submissions. When you submit to the journal, you agree to read, edit, and vote on other submissions in your genre for several different rounds of consideration. The highest-voted stories and poems get published, and even the writers who don’t get published will receive feedback on their story from other writers. I think that’s pretty darn cool.

For More Information: www.sixfold.org/howitworks.html

 

Journals With Open Submissions This Fall

 

Transcendence Magazine

Open Submissions: September 5 – October 17

You may remember I reviewed this upcoming journal a while back. They are taking submissions for their second issue which is themed “People.” Here is what they say they want: “Tell us about a person who changed your life for better or worse, one who made a single impression on you before disappearing forever, or one you never met at all and never will. It doesn’t have to be non-fiction, but you should make us feel like it is.” They accept prose, poetry, and art.

Website: transcendencemag.wix.com/transcendencemag

 

Barely South Review

Open Submissions: September 1 – November 30

If you forgot about this journal, check out my review of this wonderful review. They are currently accepting submissions!

Website: barelysouthreview.digitalodu.com

 

Blackbird

Open Submissions: November 1 – April 15

One of my favorite online literary journals opens its gates to submissions on November 1.

Website: blackbird.vcu.edu

 

Cortland Review

Open Submissions: October- June

Another journal I previously reviewed, they accept submissions starting in October.

 

The Adroit Journal

Open Submisisons: Starting October 15

This journal is of particular interest to current students (both undergraduate and graduate) because they have prizes for student writers. Their submissions open up mid-October.

Website: www.theadroitjournal.org

 

Just as these literary journals are gearing up, this blog will be gearing up too. If you enjoy writing about literary topics, and you want to write for this blog, I am currently looking for contributors. You can email me at litbloom@gmail.com.

#Twitterfiction

You may have heard that this past week David Mitchell, author of several novels including Cloud Atlas, was live-tweeting a short story called “The Right Sort” on his twitter.

If you haven’t checked it out yet, I recommend that you do. He isn’t the first major author to dabble in the new genre of twitterfiction; other well-known authors who have published through Twitter include Jennifer Egan and Teju Cole. But this was my first experience reading a live-tweeted short story, so while reading it, I began to wonder how viable of a platform is Twitter for fiction, especially for emerging writers who don’t have the follower base that bestselling authors do.

For authors like David Mitchell, Twitterfiction is more of a marketing tool than a sincere publishing platform. Nevertheless, we can learn a lot from “The Right Sort.” The form of tweets, which must have 140 characters or less, is not extremely conducive to reading, since only a sentence or two at most can be tweeted at a time. I thought Mitchell did a good job working with the form to achieve the tone and style he wanted for his narrator. The narrator, a teenage boy hopped up on Valium, remarks,

Valium breaks down the world into bite-sized sentences. Like this one. All lined up. Munch-munch.

Thus Mitchell’s narrator has great tweet-sized thoughts most of the time that fit well with the format. (Is Mitchell critiquing the Millenials’ miniscule attention span through his narrator Nathan’s tweetable voice?) Later the short, jarring sentences transform into confusing stream-of-consciousness, when the narrator’s tone changes and he becomes terrified and disoriented. Finally, closer to the end of the story, the story tends towards the surreal. But I think this format in 140 character pieces still works, because the tweets allow for the narrator’s strange impressions and thoughts to feel fragmented even as they run together.

It would have been easier to read the story just typed out, of course, but I can see why twitterfiction is appealing. Using twitter, authors deliver a story serially, creating suspense that keeps the reader interested. I’ve written about serial online writing before in my article about different online writing platforms and in my article about the online journal Five Chapters, and as a member of the social-media consuming Millenial generation, I can see the appeal in munching on a story in “bite-sized sentences,” as opposed to being confronted by a large mass of text. It’s like the difference between shoveling down three-course meal at the end of the day versus chewing little snacks throughout the day. The snacks aren’t necessarily good for you, and you might still be hungry, but at least you’ve kept your jaw busy.

So does that mean we should all start composing our short stories and poetry with 140 characters-per-line enjambment? Perhaps, but I really think it depends on what you’re trying to accomplish with twitterfiction. Are you attempting to write the next great American novel and post it on Twitter? If so, the genre of twitterfiction is probably not for you. A Hemingway novel might be tweetable, that’s true, but I can’t see anyone trying to slosh their way through an ocean of long-winded Steinbeck-style tweets. I’m not trying to diss Steinbeck- I love his style, but let’s face it, The Grapes of Wrath is just not appropriate for twitter.

What is the ideal situation for posting twitterfiction then, if you’re an emerging writer? Well, for the people who are interested in Twitter as a flash fiction or poetry platform, there are a few twitter accounts that are self-styled twitter-zines. They curate fiction tweets, and submission is as easy as using the right hashtag or mentioning the zine in a tweet. A couple twitterzines include 140 characters and nanoism.  Both accept submissions via email. Check out the Submission Info below for more details.

Twitter might have some other innovative uses for writers and editors of literary magazines looking to promote fiction. Why not use the short format to present the first sentence of a short story with a link to its publication, using a tweet as a hook to draw in readers? That seems to be what all the major news outlets do these days to try to get people to watch their videos or read their articles, so why wouldn’t it work for fiction?

Of course, these techniques assume you already have a follower base. If you don’t have a large follower base, I suggest working on building one first before trying to market through Twitter. As I type this, I have fewer follows on Twitter than I would like, but actually just through the act of putting tweets out there with hashtags to garner attention for yourself, you can start to gather more followers (Shameless plug: you can follow me on twitter @hapawriting). And you don’t have to feel guilty about attention-seeking because it’s all for the sake of your career as a writer, right?

If you have thoughts on how to use Twitter as a useful writing and publicity tool, please share them in the comments below. I’m interested to hear about your experiences with twitterfiction.

Submission Info:

140 Characters

Direct message TwitterFiction on Twitter, or email your short stories to twitterfiction@gmail.com. Submissions must be 140 characters or less, of course.

Nanoism

Email submissions to editor@nanoism.net, include your name, bio (up to 134 characters), and subject line: “Nanoism Submission”