Tag Archives: Readers

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!

 

11 Exhausted SF Tropes You Should Avoid. Really.

Basically…YES. Read this post from Carrie Cuinn. Live by it. Write by it. Beginning of story.

Two more things to keep in mind:

1. If you do decide to incorporate alien languages, but translate them to some human language for your readers, do NOT translate them into broken English/Spanish/etc (à la Avatar). And why not? Because this makes absolutely no sense! The only possible reason for this is to make your foreigners sound more “foreign” and less intelligent. Why would any translator translate something into a broken version of their language? They wouldn’t. And why? Because that makes no sense!

2. Stop using violence against women as a plot device! Does violence happen?–sure. Does violence often happen in books and stories as a logical/tragic/critical part of an overall plot?–sure. But why does it so often have to be that a flat, undeveloped female character is raped/killed/beaten for the sole purpose of giving some male character a blank check to then wreak whatever violence he wants in the name of this tragedy? –This is tired, annoying, and offensive. I am utterly exhausted of seeing violence against women used as an excuse to justify yet more and more violence. Because female characters are so expendable? Because they exist for no other reason but to spur someone else to action? Because violence against women/girls is somehow worse than violence against men/boys? Because there’s no other possible reason for someone to start off on a journey/quest/rampage? C’mon, people. This trope is just lazy and, again, offensive. Let’s move forward already.

Carrie Cuinn

Some ideas have been done to death in science fiction. We all know there are no new ideas anymore, and what matters most is the execution of the idea you stole have, but there are a few things that are not only over-done, they’re either incredibly stupid or offensive, as well. Here’s a partial list of tropes I’d love to never see again:

Stupid/Lazy Writing

  1. Funky Alien Language: your aliens from across the galaxy speak perfect English, except for a few “untranslatable” slang phrases? Or the language is made entirely of clicks and apostrophes? Hey, I know! All of your proper names are made with the 5, 8, or 10 point letters from Scrabble. Worst yet is when all of the men have harsh, hard-sounding names, and all of  the women (or other effeminate species) have soft, vowel- and f/l/sh-heavy names. This is an instant clue that you’re dealing…

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things I’m tired of seeing in lit mag submissions

As a reader for two different magazines and an indie book publisher…I couldn’t agree more with Bartleby Snopes editor Nathaniel Tower. If you’re a writer and/or editor, definitely give this a read.

freeze frame fiction

Guest post by Bartleby Snopes Literary Magazine managing editor Nathaniel Tower

An editor of a literary magazine has to put up with a fair amount. Among the struggles we must face on our daily quest for literary greatness is repetition. I’m not simply talking about the monotony of reading submissions. Rather, I’m referring to the fact that, at times, it feels like every submission is exactly the same.

When lit mag editors are asked what frustrates them the most about submissions, the responses are typically the same: submissions that don’t follow guidelines, submissions riddled with typos, submissions with a blatant disregard for the aesthetic (whatever the hell that means) of the lit mag in question.

As a lit mag editor, these aren’t the things that bother me the most. Writers who don’t follow guidelines are the easiest to reject. They waste the least amount of my time. What, you didn’t use the…

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Interview with George Filipovic, Co-editor of “One Throne Magazine”

“Literary fiction isn’t always dull, SFF can be poetic, and poetry doesn’t have to be impenetrable. There are so many cliques in literature, and each seems to make wildly inaccurate assumptions about the other. I want to run a different kind of literary magazine and open people’s eyes.”

–George Filipovic, Co-Editor of One Throne Magazine

 

Check out this terrific interview with One Throne editor, George Filipovic. There’s not only a lot of useful/enlightening information here about a young, strong (free!) literary magazine, but also some great arguments for reading beyond our regional biases and checking out authors we might not have considered before.

Great post, Geosi Reads, and thank you!

submit-header

Geosi Reads

Photo: George Filipovic Photo: George Filipovic

Brief Biography:

George Filipovic is the co-editor of One Throne Magazine, which he founded at Dawson City, Yukon in 2014. The magazine publishes all genres and writers from all nationalities. In its first year, two of One Throne’s stories were named “Notable” by two Best American anthologies (Best American Essays and Best American Science Fiction and Fantasy). Another story was subsequently made the first chapter of a novel that was bought by HarperCollins India. The magazine has published short fiction written by a 2014 Caine Prize finalist, other short fiction by a 2014 Shirley Jackson Award finalist, and poems from each of the joint-winners of the 2015 Brunel African Poetry Prize. One Throne prides itself on probably being the most diverse literary magazine on the planet. Most issues carry writing from at least three continents, with women and minority groups equitably represented.

Geosi Gyasi: You practiced law in your hometown, Toronto, before leaving for the…

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Keep Reading Weird

A big thank you to Keep Reading Weird! for just plain existing.

I love these posts, reading lists, book clubs, and recommendations—the whole shebang, in other words. For everyone out there in love with the literary weird (like me!), this is absolutely a blog to follow, read, love, and send good vibes to (money, also? I’m sure they’d accept checks. Maybe also stories. Maybe also freshly killed mice if you happen to be of the alley cat-persuasion).

Read Weird

I may not want Meredith Alling to cook dinner for me anytime soon, but she can write me a story any day.

In “Ancient Ham,” a delectable morsel of flash fiction, Alling tells the story of a magic ham with predictive powers.  “Once a year,” we’re told, “the Ancient Ham crawls out of the sewer to sit on a curb and answer questions.”

People flock to the Ancient Ham to ask it yes or no questions.  How, you might ask, does a ham answer such questions?  Well, one simply pokes the Ancient Ham with sewing needles laden with offerings, and then the Ancient Ham bobs left for no, right for yes.

“Ancient Ham” is especially brilliant in the way the story’s heart emerges in the last few lines.  I won’t spoil the ending for you, but just know that it has me bobbing to the right, just like the Ancient Ham.

Yes, you…

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Novelist, Poet, Short Story Writer?

First, the good news (because Fridays should always start with good news): My flash fiction piece “Zebra Skin” has just been accepted for publication with Fiction Southeast! I couldn’t be happier about this–both because I happen to especially love this story and because I’ve been hankering for a spot in Fiction Southeast for…forever? Definitely ever since I learned that Aimee Bender was among their ranks.

Now, on to the meat and potatoes (or, if you’re a veggie like me, the cabbage and potatoes):

This past May, I hired on the tremendous Seattle-based editor Tara Weaver to help me tackle the monster novel that I’ve been working on for a few years now, (working title) The Fire Eaters. Not only was Weaver basically incredible (professional, kind, straightforward, sincere, creative, timely, and many other equally wondrous things), but she also helped something crucial finally click into place for me: I am not a novelist. I am a short story writer.

Now, this doesn’t mean that I’ll never write a novel — I’ve already written several rather dreadful ones, in fact — but it does mean that, at least for now, short story writing is where my heart lies. It’s where I boogie. And it’s all thanks to Weaver asking me a deceptively simple question: Katie, did you enjoy writing this novel?

I had no idea of how to respond. Of course! I wanted to say. Of course I enjoyed it–I love my job, don’t I? This is what I do!

And yet there was that little voice in my head: But did you, Katie? Did you actually enjoy writing this novel?

I ask, she told me, because it was clear to me as a reader when you stopped enjoying the writing of this book. In your short stories, though, there’s never a moment where I feel as though you stopped enjoying the process or the project.

It took a while for me to really know what to do with this information. I’m a writer. Of course I write short stories–I have no skill for poetry, and how else would I build up a resume to finally write and sell a novel one day? (Right?)

But then I had to ask myself: Well, would it be so bad if you were a short story writer instead of a novelist?

Novels sell. Short stories don’t. –This is the mantra I grew up hearing, reading, encountering again and again. But on the other hand, it’s not like my novels are anything worth selling at this point, unlike my short fiction.

So, next question: Well, what kinds of books do you most enjoy reading?

Short story collections. Hands down. Always. Whenever I have an author recommended to me, I always seek out their short fiction first and, if I can’t find any, more often than not, I’ll usually ignore the recommendation and move on to someone else.

This is a habit that I know not many readers share with me, but it’s one that’s served me well time and again. If you don’t have a short story for me, there’s little chance that I’m going to trust you with the amount of time that a novel demands of its consumers. Also, short stories are those blissful dives into the moment, into the now, whereas novels so often seek to drag me into the past with flashbacks, backstory, stock characters, and on and on. Or, as Katey Schultz so beautifully says in her article “What is Flash Fiction?“:

In an era of bombardment … we’re hungry for precise details and a widening of the moment. We’re anxious for an excuse to hold time and look closely.

–And this is an urgent, pivotal job of the short story, of flash fiction, of prose poetry.

Of course, this isn’t to say that short stories are somehow better than novels, but simply that they are different (albeit closely related) artforms, and thus demand different skills and serve different purposes.

So why this hesitation on my part? Why all this pressure to write a novel when they aren’t even my preferred go-to as a reader?

Well, here’s one reason–as Amber Sparks so tragically points out in her articleLet Us Now Praise Famous Short Story Writers (And Demand They Write a Novel“:

Most people really don’t like short stories. And that includes lots of critics, who often seem to regard short story collections as a warm-up for the real thing.

“The real thing” — aye, there’s the rub. In today’s world, short stories are still often looked down on as somehow lesser, somehow not as professional, not as artistic, not as meaningful, not as powerful, not as important as the grand Novel. And I played right into their hands by letting this slop infect my perspective.

I know I also often fall into a similar trap when discussing my writing career in general. As a full-time creative writer, I’m often made to feel badly about my career. As if writing was nothing more than glorified unemployment. When people learn that I’m a writer, their follow-up questions usually tend toward these paths:

But do you also edit? Are you planning to be a teacher? What’s your day job? Have you ever considered self-publishing?

To dodge these kinds of well-meant yet soul-chewing questions, I often simply avoid telling people I’m a writer at all. –But this cannot be the answer. We writers must stand up for ourselves. We cannot allow the misconceptions of others to define who we are or what our work-lives mean, just like I must also now proudly stand up for the short story as an artform that’s every bit as vital and meaningful as the novel.

As Kara Cochran says in her (tremendous!) article “A ‘Real’ Job: The Legitimacy of Creative Writing“:

Unfortunately, writers often perpetuate the stereotypes they fight against. … We often fail (or refuse) to define what it is that we do …. Maybe we feel guilty for our gifts, for having the means to pursue something for love over money, for having found something that makes us happy. …

The problem is this: all of this is self-perpetuating. Because convention tells us to accompany writing with a ‘real job,’ writers struggle to make writing a real job.

C’mon, fellow writers, let’s make this a real job.

I’m a short story writer. I love what I do and I’m proud of it. Whether you’re a novelist, short story writer, poet, a triple threat–own it. Love what you do and be proud of it. Own it–for art’s sake!

 

 

 

Fresh Summer Reads

You guessed it! The latest issue of Cleaver Magazine is out in style. Issue 14 is one of my personal favorites so far with some very odd, off-the-wall pieces that leave me pumped full of energy.

Here are just a few highlights to get you warmed-up:

First, Judith Schaechter’s glass art (see featured image above for an example from this issue) is basically some of the coolest, creepiest, most painfully lovely work I’ve seen in a long, long time. Check out more of her art in “The Stigma of Beauty, The Stain of Glass.” LOVE! –Also, her essay discussing her work is just freaking awesome:

I am fairly certain that many people experience my pieces kind of like this: Judith Schaechter is an artist who makes images in stained glass of anguished women set against highly decorative backgrounds. People often see my works all at once as a group — presented in a show or reproduced in an article — but to me, each piece is vastly different and each one arose over long periods of time. But yeah, I get it: anguished women and lush, decorative backgrounds. …


BIRCH WATERS
by Meg Pendoley

(short story; emerging artist; the characters here just rock)

The three older women are buckled into the bench seat under a fleece blanket printed with howling wolves. Jess is in the driver’s seat, smoking out the window. Davi walks up next to Beth. Jess’s black hair is buzzed short and she’s got one heavy boot braced against the dashboard behind the steering wheel, her knee cocked halfway out the window. The truck is already covered in dirt, so it doesn’t really matter that she’s stamping mud all over the broken vent. Jess is wearing tan cut-off overalls and one nipple keeps nudging out. …


IN THE BEGINNING WAS THE END
by Evan Anderson

(flash fiction; love, love, love this author’s work–so glad we landed this piece!)

No one really expected the world to end like this. For one thing, it took too damn long. People want bad things to happen like a pulled-off Band-Aid rather than the slow pushing of a knife. Instead, this is how it happened …


THE WHOLE DAMN LOVELY THING
by Melissa Goode

(short story)

Hannah made a cherry pie, and it relaxed her. Only when she was carrying the pie from her house to the neighbor’s, still warm in its tin, did she think it might be inappropriate for a barbecue. She should have brought a six-pack of beer, or some cheese and crackers, because a barbecue probably did not even make it to dessert. In any case, it was too late. Amy had come to her front door to let in a couple of people and spotted Hannah walking up the drive. …


HOMMAGE À MACK SENNETT
by Kathleen Rooney

(flash fiction)

The nightgown in the painting crosses genres: detective and farce. It has a partial body—breasts—but not a face. You could say it’s peekaboo. You could say it’s diaphanous. Either way, it reminds Georgette of how her husband uses recurring motifs to create a story, or at least a semi-story, for a story full of holes is a story full of mystery, a mystery like lace. …


ANGELS HAVE CORDONED OFF SECTIONS OF MOUNT SINAI
by John Harvey

(poem; LOVE this piece!)

Say nothing of this to the doctors of Geneva,
to the folks who rock back and forth
on front porches down in Key West,
or the old woman dreaming of Palestine …

Happy Reading! Happy Writing!