Tag Archives: Artists

Literary Magazines with Fast Response Times, Part II

Here’s Part II of a short list of literary magazines who have (or offer for a fee) super-fast response times to submissions:

Driftwood Press

Submission Period: Rolling

Genres Accepted: Fiction, Poetry, Visual Art, & Lit Crit/Interviews

Response Rate: They accept simultaneous submissions and, for $5, offer a premium submission option that promises a one-week turnaround.

Maudlin House

Submission Period: Currently Open

Genres Accepted: Fiction, Flash Fiction, Visual Art, Video, & Poetry

Response Rate: They accept simultaneous submissions and say they respond to all submissions within approximately two weeks. You can also pay $5 for an expedited submission with a 24-hour turnaround.

Carve Magazine

Submission Period: Rolling

Genres Accepted: Fiction

Response Rate: They accept simultaneous submissions, but not multiple submissions. If you become a subscriber, you can submit under a “premium” submission option, which promises a one-month turnaround.

Nat. Brut

Submission Period: Rolling

Genres Accepted: Fiction, Flash Fiction, Comics, CNF, & Poetry

Response Rate: They accept simultaneous submissions and, for a fee of $4, they promise a turnaround time of six weeks.

Gargoyle Magazine

Submission Period: Currently Closed

Genres Accepted: Fiction & Flash Fiction

Response Rate: They accept simultaneous submissions and usually get back to submitters within a week (personal experience has been fewer than three days!).

Hermeneutic Chaos Literary Journal

Submission Period: Rolling

Genres Accepted: Fiction, Flash Fiction, Visual Art, & Poetry

Response Rate: They accept simultaneous and multiple submissions, and have a turnaround time of ten days or fewer.

Blue Mesa Review

Submission Period: Open September 30 – March 31

Genres Accepted: Fiction, Nonfiction, Poetry, & Art

Response Rate: They accept simultaneous submissions and, for a $3 fee, will expedite your submission with a promised turnaround time of thirty days or fewer.

Clarkesworld Magazine

Submission Period: Currently Open

Genres Accepted: SF&F

Response Rate: They do not accept simultaneous or mutliple submissions, but they usually get back to submitters within two to three days.

The Dark Magazine

Submission Period: Currently Open

Genres Accepted: Horror & Dark Fantasy

Response Rate: They do not accept simultaneous or multiple submissions, but they usually get back to submitters within two to three days.

 

Click here for Part I of this list*

Happy Submitting!

 

My Favorite Writing Tips, Part I

Artists often get tons of advice from all over the place, from people who might know what they’re talking about and from plenty of others who don’t. This can make it difficult to wade through everything to what’s actually useful.

And so, as we start coming around to NaNoWriMo time again, I thought I’d post a fresh shortlist of some of my favorite (actually useful) tips and ideas:

1. From Vonnegut’s classic 8 rules for writing short stories: “Start as close to the end as possible.” —This encompasses so many excellent style pointers for both novels and short stories: don’t waste the reader’s time, more writing doesn’t equal more complexity/intrigue, world-building and character-building shouldn’t be different from plot advancement, and so on and so on.

2. From Drew Chial’s post, “Why Every Story Needs Its Own Pit of Snakes”: “The second act demands sacrifices.” This is an essential storytelling tenet: the rising action of a story must lead to an Act II sacrifice; it’s the moment where all sins culminate to push the hero to its lowest point, where a beloved secondary character bites it, where the hero loses (even if only temporarily) that which is held most dear. Of course, this often requires more sacrifice on part of the author than the story’s hero, as may be evidenced by the countless stories that end toothless and unsatisfying thanks to the hero’s climb being all too easy.

3. From Ray Bradbury’s Zen in the Art of Writing: “Zest. Gusto.” Bam!

4. From Stephen King’s On Writing: “If you don’t have time to read, you don’t have the time (or the tools) to write.” —A special note on this one: definitely be reading in whatever genre it is that you’re writing; don’t be afraid that someone will influence you and your voice—embrace it! I promise you, you’re not going to end up writing in their voice. Rather, you’ll simply be learning the tricks of the trade from peers and professionals while also learning how to make those tricks uniquely your own.

5. From Margaret Atwood: “The only way you can write the truth is to assume that what you set down will never be read.” —Writing with an audience in mind is often a useful trick, but it can just as often be useful to imagine that the audience is you and you alone, or a perfect stranger, or a very specific, very faraway, and very scandalous (and thus difficult to scandalize) person.

Happy Writing!

8 Comics for Literature Lovers by Drawn & Quarterly

Flavorwire

dandq_feature

This month — a special one for lovers of comics, cartoons and graphic novels — marks the release of Drawn and Quarterly: Twenty-Five Years of Contemporary Cartooning, Comics, and Graphic Novels. To celebrate the book and Drawn & Quarterly’s 25th anniversary, we’ve asked creative director Tom Devlin to provide a “random list of his favorite comics” for our literary readers.

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On the Art of Adaptation, Part I

For a good while now, I’ve worked with Bancroft Press, a Baltimore indie publisher, to adapt some of their titles into screen, stage, and teleplays. This isn’t a line of work I ever imagined I’d end up in. Adaptation? But I’m an editor! I’m a writer of original fiction! —Of course, I now know just what a boon this kind of work can be to editors and writers, the kinds of skills and instincts it can help you develop, as well as the respect it can instill in you for other artists and art forms.

What’s most fascinating about novel-to-screenplay adaptation, at least to my mind, is that you get to take something special, a work of art that someone spent months or even years creating, and begin to entirely re-imagine it. This doesn’t mean rip it to pieces and tear out its heart till the only thing left of the original story is the title—this means reconsidering the execution of the story, not the story itself. This means realizing that every story—no matter how it’s told—has some unchanging, constant core.

As an editor and author, I’ve always believed that Execution is King. Everyone can have great or weird or even transcendent ideas, but the drive and ability to translate those ideas into art is where the actual art comes into play. For this reason, I always try to remain mindful during my adaptation process that the author chose the written word as the most perfect medium for their story. This means that, by its very nature, any non-written version of a novel or short story will mean creating a new story in some respect. (Hence why, I think, screenwriters still get to put their names on adaptations with just a Based On for the original author—it’s not just about the hours and hours put into the 110 page screenplay; it’s about acknowledging that this is a new version of an older tale.)

It’s always dangerous to pick favorites, but in what is perhaps my favorite book, Clarissa Pinkola Estés’ Women Who Run With the Wolves, she discusses just this phenomenon within the context of folklore, myths, and fairy tales—how “classic” stories become “classics” by being passed down from storyteller to storyteller, their delicate surface-level clay altered each time by new fingerprints and palms, yet their hard inner-layers remaining unchanged and constant. And it’s this sort of reverence for the author’s original vision that I attempt to carry with me into each and every adapted screenplay, teleplay, and stage play that I write. These aren’t just contracts with a publisher; these are pieces of something LARGE, something that I’m now lucky enough to get to be a part of.

This may sound like a lot of romanticization, and perhaps it is. I’m not saying, after all, that I’ve loved (or even liked) every book I’ve ever adapted. But when I stop to really meditate on what it is I’m doing—which I try to remind myself to do as often as I can—I’m always struck by the deep power that lies in storytelling and in the work of passing stories along from one set of hands to another, as if the story itself is searching out its Ideal Reader (thank you for that term, Mr. Stephen King; I love it and think about it all the time), its Ideal Listener, the person it was always meant to be told to.

But apart from the romance of being involved in passing along a story from one hand to the next, like a baton in some endless, thrilling race, I love how the work of adaptation has and continues to help me become a better editor and writer of original fiction. There’s nothing like breaking a story down to its component parts, playing with its blood and guts and love and pain, to really remind yourself of just how exactly it is that a good story works, how its parts all then fit back together, how its blood flows and what kinds of things its guts can and can’t chew up on their own.

The art of adaptation then, at least as I understand it today, might be boiled down to a few simple points: respect the author, respect the work, respect your own work, and always, always be open to what each new story has to teach you.

Art Encased in Art: Innovations in Publishing

As a professional writer, I’m often asked what I think of the changing face of the publishing industry. Do I want to find an agent? Do I want to self-publish? Go strictly e-book? Publish “traditionally”? Really though, the question they most want to ask is: “Are books dying out?”

My answer to this is always a laughing “no,” simply because–while the industry is certainly changing in many ways–books have always been (and will always be) at once a source of both function and art. In this post from Medieval Books, we can see evidence of this fact in the simultaneously artful, creative, and intensely functional style of different ancient books.

Today, as the internet changes our needs, demands, and expectations of books, we are also beginning to see a return to the production of artistically crafted books–that is, books produced as works of art in and of themselves. The content, in this form of publishing, thus becomes art encased in art. For just a few examples of this growing trend, check out: Anteism, Publication Studio, Ugly Duckling Press, Perimeter Books, and Art Metropole.

medievalbooks

Both medieval manuscripts and their modern counterparts are designed to accommodate human readers. Our two hands can keep an open book under control with ease by applying gentle pressure on the outer margins of the pages. Release the pressure with your right hand and a page lifts up in the air, just enough to conveniently flip it. With a rustling sound it travels from right to left, moved along by an impatient reader that is left in suspense for a second or two. The proportions of the page, too, are designed to accommodate consumption by human beings. Our eyes can handle only a small number of consecutively placed words, no more than eight or so, depending on the size of the letter. As a consequence, medieval page design shifted to presenting a text in two columns rather than one, a transition that occurred over the course of the twelfth century.

This relationship between book design and human anatomy is seen most vividly in a particularly peculiar bookish object…

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Spring is Here! Let’s Get Inspired

At long last, Spring has officially graced our stage once more.

To celebrate, let’s spend some time getting inspired so that we can approach our art refreshed, energized, and full of thoughtfulness.

Just a few things to get you started:


From jsglogoa different Nick Cave…

SOUNDSUITS

by

NICK CAVE

Nick Cave is an artist, educator and foremost a messenger, working between the visual and performing arts through a wide range of mediums including sculpture, installation, video, sound and performance. He says of himself “I have found my middle and now am working toward what I am leaving behind.” Cave is well known for his Soundsuits, sculptural forms based on…


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Stephen King — ALWAYS!


Angela Davis is a woman of and for the Imagination

Powerful Activist, Scholar and Author, Dr. Angela Davis delivered the keynote address in honor of Black History Month

“We should constantly remind ourselves that another world is indeed possible.”

— Angela Davis


TWIXT by Francis Ford Coppola — this films never fails to inspire me


And last — but never least — the photography of Blue Lion Photos; it always serves to inspire me and my writing

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Blue Lion Photos

by John Mead

Getting Down to Business: CPAs for Artists

According to The Guardian’s “Ten Rules for Writing Fiction,” author Hilary Mantel’s first rule for writers is:

 

Get an Accountant!

 

So, as I’ve only started writing and editing full time very recently, I’ve been in the market for an accountant who specializes in helping out the self-employed artist.

In case you’re in the same boat as I, here are a few I came across during my search (although I cannot vouch for any of them personally, of course; these are just a few names I came upon who advertised on working with artists):

 

Accountants for Starving Artists in Baltimore, MD:

Jonathan Mayo, http://www2.citypaper.com/bob/story.asp?id=16583

Thomas Bowen, http://www2.citypaper.com/bob/story.asp?id=18803

According to Baltimore’s WTMD: http://wtmd.org/radio/category/starving-artist/

 

New York, NY:

Steven Zenlin, http://www.stevenzelin.com/about-us/

Steinberg Shebairo, http://steinbergshebairo.com/who-we-are/

 

Austin, TX:

Layne Lauritzen, http://musiccpa.com/accounting-services/

 

Los Angeles, CA:

Rick E. Norris, http://www.ricknorriscpa.com/entertainment-business-management.php

 

St. Louis, MO:

Anders, http://anderscpa.com/industries/sports-arts-entertainment/

 

Chicago, IL:

Julie Herwitt, Herwitt & Associates LLC, http://www.herwittcpa.com/services

 

West Palm Beach, FL:

Harless & Associates, http://www.harlessandassociates.com/tax-accounting-artists-musicians-west-palm-atlanta

 

Boston, MA:

Ercolini & Company, http://www.recpa.com/practice-areas/artist-and-art-related-business/