Underground Voices publishes poetry, fiction, non-fiction, and flash fiction. Read the complete guidelines here.
SQF: What are the top three things you look for in a submission and why?
CP: Is it entertaining, is it well-written and does it fit the style of Underground Voices? I read a lot of submissions that clearly come from talented writers, but the stories are often lackluster and tedious to finish. I consider myself to be the first audience, and if I can’t get through it, I assume the average reader won’t be able to either.
Thirdly, does it fit the style of Underground Voices? I always encourage writers to read a few stories and poems from the magazine before submitting because Underground Voices has a particular style. Sometimes stories get rejected simply because they aren’t a right fit for the magazine.
SQF: What are the top three reasons a submission is rejected, other than not fitting into your answers to question one and why?
CP: Bland writing. A lot of submissions fail to resonate. There’s nothing particularly bad about them but there’s nothing particularly interesting about them either. They’re grammatically sound, decently written, but they suffer from mediocrity. Unfortunately, it’s the main reason submissions get rejected.
Cliched writing. Across every written spectrum, there are phrases and words that are overused. It’s easier to justify clichés in blogs or social media, but literary fiction needs a higher bar. Additionally, the style at Underground Voices is quite specific, so I tend to weed out writing that leans on clichés. Impressive submissions are always writers with a strong voice and distinct writing style.
Finally, rhyming poetry. It’s just a preference thing.
SQF: What common mistakes do you encounter that turn you off to a submission?
CP: Writers who submit too much: 10 attachments with 10 different stories, 102 pages of poetry (it’s happened), novellas instead of our 4,000 maximum word count… overkill is a big mistake.
I guess because of the name, Underground Voices, some writers misinterpret this to mean a magazine that will print anything with excessive violence or offensive language. They mistake this for being edgy. So there are always submissions where offensive language seems randomly peppered in. Violence or offensive language isn’t off-putting, but it has to be earned and it has to enhance the story not degrade it.
SQF: Do you provide comments when you reject a submission?
CP: I’m hesitant to provide feedback because writers, like all artists, are a sensitive bunch. It’s important to let them know that I rejected it because it didn’t fit Underground Voices. However, it may be perfect for another magazine. I don’t want to discourage writers from sending their work out again and I don’t want to discourage them from writing, writing, and writing. Another reason I don’t provide feedback is because I know the pass is final. No amount of revision is going to change my mind about the submission. I’ve read it, I’ve passed. If I passed for minor reasons, however, I’ll provide a few comments. In these cases, I usually encourage writers to submit more of their work.
SQF: I read a comment by one editor who said she keeps a blacklist of authors who respond to a rejection in a less than professional manner. I'm sure you know what I mean. What do you want authors to know about the stories you reject and how authors should respond? Along this same idea, do you mind if authors reply with polite questions about the comments they receive?
CP: Any level of rejection stings. However, the most important thing to take away when an author is rejected by Underground Voices is that it’s not the be all and end all. Underground Voices is a small magazine and a rejection here counts for very little in the bigger world of literary magazines. Put the rejection in a larger context and keep sending your writing out.
Along this same idea, is it okay for authors to reply with polite questions about the comments they receive? Sure, but I’ve never offered suggestions on how to fix stories. I think writing courses and online writing forums do a better job of guiding writers. The decision process is very narrow at Underground Voices because it caters to one style: the style of the magazine. Many stories simply don’t fit that style. A rejection doesn’t always mean “bad writer.” It could mean “wrong fit.” It’s important for writers to remember that too.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
CP: This will seem like a relatively simple question, but it’s deceptive. How honest should writers be about having their previously published stories re-published elsewhere? Does it matter? It does matter. I think writers should be careful about being disingenuous. Many magazines, Underground Voices included, won’t publish work that has been previously published online. Yet, a couple of times, we’ve had to pull stories down when an irate editor from another magazine said UV had republished a story from one of their writers. Clearly the writers knew they were being dishonest when they submitted their work, and they suffered the consequences. Both were blacklisted from the previous magazines and had their writing taken down at Underground Voices. I think writers have to understand that this rule is a courtesy rule amongst magazine editors. Writers should respect that rule too.
Thank you, Cetywa. We all appreciate you taking time from your busy schedule to participate in this project.
NEXT POST: 6/4--Six Questions for Peter LaBerge, Editor-in-Chief, The Adroit Journal
Thursday, May 31, 2012
Monday, May 28, 2012
Six Questions for Amanda Bales, Fiction Editor, The Umbrella Factory
Umbrella Factory publishes fiction of 1,000-5,000 words, poetry, nonfiction, and art. Read the complete guidelines here.
SQF: What are the top three things you look for in a story and why?
AB: First of all, I’m going to state how awkward I feel making these claims. It feels like trying to pinpoint what I find attractive in a romantic partner. Dark hair? Blonde hair? Tall? Short? None of that ever really matters. Attraction is always about the unique individual (and chemistry and hormones and, I don’t know, string theory or something). I think the same applies to stories. Each story, no matter its parts, can be wonderful.
At the same time, there are certain things hoped for, and it’s probably best to know them and be honest about them (likes Townes Van Zandt, doesn’t kick puppies…I think this just turned into a dating column, I’m going to stop now). So, here are some hopes, or some guidelines, in any case.
Language – I look for language that breaks me in some way. I want to read back over a line or two and marvel. I want to be jealous of those words. I want a sense that the author has taken care with their work.
Revelation – This is a tricky word. I definitely don’t mean that a character needs to come to some sort of revelation about his or her life (Why, of course I should stop mainlining heroine and go back to school! Thanks, Inspiring English Teacher!). I will say, however, that the stories I like best reveal something about others, or myself, or a culture, or physics, etc……… I guess when I say revelation, I mean discovery. I want to discover something as a reader.
Investment – This is another tricky word. (Most words are tricky. I’ll stop saying this.) I want to be invested in the story. Ideally, at the end of the story, I will continue to imagine the lives of the characters.
SQF: What are the top three things that turn you off to a story and why?
AB: I think we can take the three above and reverse them for this: A story with no sense of discovery comprised of careless language and featuring innocuous characters.
Things I am not exactly the largest fan of, although a good writer can change my mind:
SQF: What advice can you offer new authors hoping to publish their first story?
AB: I don’t know that advice can be specific to new authors. Some pretty standard comments:
The journal just didn’t “get” how awesome your story was, right? It’s their fault entirely, those stupid jerkfaces.
Look, maybe this is the case. We all know tales of amazing stories being rejected by lit journals. Maybe one day your hard work will be just such a tale. Let your amazing story being published elsewhere be the response to rejection. Let the jerkfaces be the ones in the wrong (with their stupid, sad, jerkfaces). Although the publishing world can seem giant and amorphous, it’s really very small. We all talk to one another, and nothing beats a great angry submitter story. They get passed around, taped to office walls, posted on Twitter. One inebriated rant against the oppressive oligarchy of Stupid Jerkface Journal, and it’s highly possible that your name will become a punch line. Your name is important. Resist.
My only other advice would be this: Don’t despair. Don’t take it personally. Keep working.
SQF: Do you provide comments when you reject a story?
AB: If the submission has impressed me in some way, then yes. I (we) usually let this person know that we would like to see more work if it is available. For the most part, however, a rejection is clean and impersonal. I admire the process at Our Stories more than can possibly be expressed, and, as a writer, I understand how getting a personal rejection can be helpful and encouraging. But, as a writer, I also know that an impersonal rejection is not more of a rejection.
SQF: What do you consider to be the primary responsibilities of an editor?
AB: My primary responsibility at The Umbrella Factory is pretty simple: find fiction we can all be proud to publish.
But I have a responsibility to those submitting as well. I do not read submissions when I am tired or cranky or hungry (this leaves a pretty small window of time in my day). Did you read that report about judges being more likely to give harsh sentences just before lunch? We all like to think we use our gut to decide if a story is what we are looking for, but, ya know what? Sometimes our guts just need cheeseburgers. I promise those submitting to The Umbrella Factory that their work will never be rejected because I need a cheeseburger.
In the largest possible sense, I have a responsibility to promote and foster quality contemporary short fiction. That’s what I try to get at with my section on our “The Beginning” page.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
AB: Um, “Who will take the AL Central?”
I’m actually quite glad that this interview was brief. I think setting parameters can be helpful, but trying to codify something this subjective can also be pretty damaging, maybe even silly.
Do I like redheads?
Yes.
Do I exclusively date redheads?
Good grief, of course not.
Thank you, Amanda. We all appreciate you taking time from your busy schedule to participate in this project.
NEXT POST: 5/31--Six Questions for Cetywa Powell, Editor, Underground Voices
SQF: What are the top three things you look for in a story and why?
AB: First of all, I’m going to state how awkward I feel making these claims. It feels like trying to pinpoint what I find attractive in a romantic partner. Dark hair? Blonde hair? Tall? Short? None of that ever really matters. Attraction is always about the unique individual (and chemistry and hormones and, I don’t know, string theory or something). I think the same applies to stories. Each story, no matter its parts, can be wonderful.
At the same time, there are certain things hoped for, and it’s probably best to know them and be honest about them (likes Townes Van Zandt, doesn’t kick puppies…I think this just turned into a dating column, I’m going to stop now). So, here are some hopes, or some guidelines, in any case.
Language – I look for language that breaks me in some way. I want to read back over a line or two and marvel. I want to be jealous of those words. I want a sense that the author has taken care with their work.
Revelation – This is a tricky word. I definitely don’t mean that a character needs to come to some sort of revelation about his or her life (Why, of course I should stop mainlining heroine and go back to school! Thanks, Inspiring English Teacher!). I will say, however, that the stories I like best reveal something about others, or myself, or a culture, or physics, etc……… I guess when I say revelation, I mean discovery. I want to discover something as a reader.
Investment – This is another tricky word. (Most words are tricky. I’ll stop saying this.) I want to be invested in the story. Ideally, at the end of the story, I will continue to imagine the lives of the characters.
SQF: What are the top three things that turn you off to a story and why?
AB: I think we can take the three above and reverse them for this: A story with no sense of discovery comprised of careless language and featuring innocuous characters.
Things I am not exactly the largest fan of, although a good writer can change my mind:
- Stories about academics, or writers, or students trying to become academics or writers
- Machismo stories (Masculine stories are great. Swagger stories are great. Machismo is a false, blustering kind of masculinity. Machismo is Ogre from Revenge of the Nerds.)
SQF: What advice can you offer new authors hoping to publish their first story?
AB: I don’t know that advice can be specific to new authors. Some pretty standard comments:
- Read the journal to which you are submitting. Ours, like most online journals, has an archives section, so it’s pretty simple. (And, really, why would you want to be published somewhere unless you love their work? What if they accept your story, and then you read a few past issues and discover that you think they publish crap? Wouldn’t that be far, far worse?)
- Make your bio concise. Even if you decide to go the quirky bio route, make it briefly quirky.
- Don’t, and I repeat, DO NOT, respond to a rejection.
The journal just didn’t “get” how awesome your story was, right? It’s their fault entirely, those stupid jerkfaces.
Look, maybe this is the case. We all know tales of amazing stories being rejected by lit journals. Maybe one day your hard work will be just such a tale. Let your amazing story being published elsewhere be the response to rejection. Let the jerkfaces be the ones in the wrong (with their stupid, sad, jerkfaces). Although the publishing world can seem giant and amorphous, it’s really very small. We all talk to one another, and nothing beats a great angry submitter story. They get passed around, taped to office walls, posted on Twitter. One inebriated rant against the oppressive oligarchy of Stupid Jerkface Journal, and it’s highly possible that your name will become a punch line. Your name is important. Resist.
My only other advice would be this: Don’t despair. Don’t take it personally. Keep working.
SQF: Do you provide comments when you reject a story?
AB: If the submission has impressed me in some way, then yes. I (we) usually let this person know that we would like to see more work if it is available. For the most part, however, a rejection is clean and impersonal. I admire the process at Our Stories more than can possibly be expressed, and, as a writer, I understand how getting a personal rejection can be helpful and encouraging. But, as a writer, I also know that an impersonal rejection is not more of a rejection.
SQF: What do you consider to be the primary responsibilities of an editor?
AB: My primary responsibility at The Umbrella Factory is pretty simple: find fiction we can all be proud to publish.
But I have a responsibility to those submitting as well. I do not read submissions when I am tired or cranky or hungry (this leaves a pretty small window of time in my day). Did you read that report about judges being more likely to give harsh sentences just before lunch? We all like to think we use our gut to decide if a story is what we are looking for, but, ya know what? Sometimes our guts just need cheeseburgers. I promise those submitting to The Umbrella Factory that their work will never be rejected because I need a cheeseburger.
In the largest possible sense, I have a responsibility to promote and foster quality contemporary short fiction. That’s what I try to get at with my section on our “The Beginning” page.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
AB: Um, “Who will take the AL Central?”
I’m actually quite glad that this interview was brief. I think setting parameters can be helpful, but trying to codify something this subjective can also be pretty damaging, maybe even silly.
Do I like redheads?
Yes.
Do I exclusively date redheads?
Good grief, of course not.
Thank you, Amanda. We all appreciate you taking time from your busy schedule to participate in this project.
NEXT POST: 5/31--Six Questions for Cetywa Powell, Editor, Underground Voices
Thursday, May 24, 2012
Six Questions for Adam, Editor, Morpheus Tales
Morpheus Tales publishes fiction to 3,000 words and articles to 2,000 words in the horror, science fiction and fantasy genres. Read the complete guidelines here.
SQF: What are the top three things you look for in a submission and why?
A:
SQF: When reading a submission, what clues tell you the submission was written by a novice author?
A: There is no reason why a novice author should not be able to submit a story in the same condition a professional author would, the most common mistakes are below and include not reading the guidelines and adhering to the rules. Yes, some rules are set in stone. Professional authors tend to be very polished: very few, if any, typos, standard manuscript format, meet deadlines, etc.
SQF: What other common mistakes do you encounter that turn you off to a submission?
A: Incorrect formatting, typos, bad grammar and punctuation, not meeting the writers guidelines. The guidelines are there to help you and us. They tell you what we want. If you can't provide what we want there are other authors who will. Your story, no matter how marvelous, won't be considered if you can't meet the guidelines.
Stories with familiar themes or stereotypes, lacking good characters or settings, clunky dialogue, bad descriptions, lack of plot, lack of atmosphere, etc.
SQF: Do you provide comments when you reject a submission?
A: When we can we do. Sometimes stories just don't fit, even if the story is perfectly good. If there are ways of improving the story to a degree that it is publishable, we will try to work with the author to fix it.
SQF: What do you consider to be the primary responsibilities of an editor?
A: To produce the best publication possible. To edit the material to a publishable standard. To find and nurture talent.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
A: What piece of guidance would you give a writer thinking of submitting? Read the magazine, as many issues as possible to give you an idea of what we publish. Then read the guidelines.
Thank you, Adam. We all appreciate you taking time from your busy schedule to participate in this project.
NEXT POST: 5/28--Six Questions for Amanda Bales, Fiction Editor, Umbrella Factory Magazine
SQF: What are the top three things you look for in a submission and why?
A:
- Correct formatting - shows professionalism.
- A story that grabs me from the first line - we read several stories a day so you need to stand out.
- A story that makes me feel something - a story that doesn't engage us is not something we want to read.
SQF: When reading a submission, what clues tell you the submission was written by a novice author?
A: There is no reason why a novice author should not be able to submit a story in the same condition a professional author would, the most common mistakes are below and include not reading the guidelines and adhering to the rules. Yes, some rules are set in stone. Professional authors tend to be very polished: very few, if any, typos, standard manuscript format, meet deadlines, etc.
SQF: What other common mistakes do you encounter that turn you off to a submission?
A: Incorrect formatting, typos, bad grammar and punctuation, not meeting the writers guidelines. The guidelines are there to help you and us. They tell you what we want. If you can't provide what we want there are other authors who will. Your story, no matter how marvelous, won't be considered if you can't meet the guidelines.
Stories with familiar themes or stereotypes, lacking good characters or settings, clunky dialogue, bad descriptions, lack of plot, lack of atmosphere, etc.
SQF: Do you provide comments when you reject a submission?
A: When we can we do. Sometimes stories just don't fit, even if the story is perfectly good. If there are ways of improving the story to a degree that it is publishable, we will try to work with the author to fix it.
SQF: What do you consider to be the primary responsibilities of an editor?
A: To produce the best publication possible. To edit the material to a publishable standard. To find and nurture talent.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
A: What piece of guidance would you give a writer thinking of submitting? Read the magazine, as many issues as possible to give you an idea of what we publish. Then read the guidelines.
Thank you, Adam. We all appreciate you taking time from your busy schedule to participate in this project.
NEXT POST: 5/28--Six Questions for Amanda Bales, Fiction Editor, Umbrella Factory Magazine
Monday, May 21, 2012
Six Questions for Ryan Swofford, Editor, The Weekenders Magazine
The Weekenders Magazine publishes fiction and essays to 2,000 words and poetry. “We're a literary magazine (sort of). The kind of thing you wouldn't want your grandmother to read. There is no such thing as censorship, and this online mag aims to show the world that. We believe creativity should serve itself and the earth, and it should in some way better it...even if that means making someone crack a smile or giving someone something to think about.” Read the complete guidelines here.
SQF: What are the top three things you look for in a submission and why?
RS: I look for simplicity, uniqueness, and a sharp, biting reality behind the entire piece. If there is something that shocks me (but not for the sole value of doing so), then I will more than likely be interested. If you can grab me by the shirt-collar, then you're gold. Just make sure there's a payoff somewhere...otherwise it just seems like a trick.
SQF: What are the top three reasons a submission is rejected, other than not fitting into your answers to question one and why?
RS: For whatever reason, I keep receiving submissions about politics. We are not into politics at all. Please, under no circumstances send us anything to do with politics; you just don't write poetry discussing politics unless you seriously know how to do it. Otherwise, you're just ranting, and that is not what poetry is for (let alone fiction). Another reason I reject submissions is ghastly usage of violence. For some reason, some writers think that if they have a lot of blood, it'll be good. Not at all. In fact, it's gross. And lastly, I reject stuff because of un-followed guidelines. And that one's a given. If you're not invested enough in my magazine to read the guidelines, then I don't care to publish your work. You'll find that with any publication.
SQF: What other mistakes do you encounter that turn you off to a submission?
RS: Crafty dialogue tags. A simple "he said" will do. You don't need to throw out words like "hiss" or "bark" or "growl." I mean, does this sound good to you: "Get out of my life!" he growled"? I don't think so.
SQF: What is it about the characters in a submission that makes them pop off the page and grab hold of you?
RS: Characters that we feel like we know oftentimes have suffered the same woes that we have. Oftentimes, we feel like we know a character when every time they speak, it's obviously them speaking. Or when there's a single, repetitive detail about a character, a reoccurring description or line about the character...then we're drawn into that unique character by the narrative. For example, say a character always chews tobacco. A nasty habit, sure. But what if he swallows it instead?
SQF: I read a comment by one editor who said she keeps a blacklist of authors who respond to a rejection in a less than professional manner. I'm sure you know what I mean. What do you want authors to know about the stories you reject and how authors should respond? Along this same idea, do you mind if authors reply with polite questions about the comments they receive?
RS: Being a writer myself, I understand how frustrating being rejected for the fifteenth time feels like, but in all those times, I have remembered to keep my head screwed on tight because of this: "If you're good to mama, mama's good to you." And I live by that. And I think when writers want to respond unprofessionally to a rejection, that's their right, but just know that I have friends.
Now, I usually send a polite rejection letter detailing exactly why a submission was rejected, so usually I don't get too much correspondence after that point. Thankfully, I have yet to be insulted by a writer, but I know what to do if I do...I'll probably go tell all my little friends. Most of the time, I reject pieces because it's not the kind of writing we'd like to publish...okay, that's fine. That means there's someone else who'll probably publish it. So don't ruin your chances by being mean to magazines after they say no.
Be professional. Always, always, always be professional. People will like you better that way.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
RS: Probably: "What are some specific topics you're interested in?"
And I would answer like this: Read the content already up on the site. It's hard to pin-point exactly what I like, but perhaps narrowing the list will be shorter. I do not want to receive genre fiction (Westerns, romance, sci-fi, fantasy, etc.) or anything other than literary fiction. When I say literary fiction, please do not let it be synonymous with "serious" fiction. In fact, if you can make us laugh (usually through wit or dark humor and the like), then we will be all the more in love with your work. We have been pretty well-known for publishing slam poetry, bizarro prose/poetry (without the fantasy and all, or without magic or voodoo or anything silly like that), and stuff that conservative people should not read if they want to sleep well at night.
Thank you, Ryan. We all appreciate you taking time from your busy schedule to participate in this project.
NEXT POST: 5/24--Six Questions for Adam, Editor, Morpheus Tales
SQF: What are the top three things you look for in a submission and why?
RS: I look for simplicity, uniqueness, and a sharp, biting reality behind the entire piece. If there is something that shocks me (but not for the sole value of doing so), then I will more than likely be interested. If you can grab me by the shirt-collar, then you're gold. Just make sure there's a payoff somewhere...otherwise it just seems like a trick.
SQF: What are the top three reasons a submission is rejected, other than not fitting into your answers to question one and why?
RS: For whatever reason, I keep receiving submissions about politics. We are not into politics at all. Please, under no circumstances send us anything to do with politics; you just don't write poetry discussing politics unless you seriously know how to do it. Otherwise, you're just ranting, and that is not what poetry is for (let alone fiction). Another reason I reject submissions is ghastly usage of violence. For some reason, some writers think that if they have a lot of blood, it'll be good. Not at all. In fact, it's gross. And lastly, I reject stuff because of un-followed guidelines. And that one's a given. If you're not invested enough in my magazine to read the guidelines, then I don't care to publish your work. You'll find that with any publication.
SQF: What other mistakes do you encounter that turn you off to a submission?
RS: Crafty dialogue tags. A simple "he said" will do. You don't need to throw out words like "hiss" or "bark" or "growl." I mean, does this sound good to you: "Get out of my life!" he growled"? I don't think so.
SQF: What is it about the characters in a submission that makes them pop off the page and grab hold of you?
RS: Characters that we feel like we know oftentimes have suffered the same woes that we have. Oftentimes, we feel like we know a character when every time they speak, it's obviously them speaking. Or when there's a single, repetitive detail about a character, a reoccurring description or line about the character...then we're drawn into that unique character by the narrative. For example, say a character always chews tobacco. A nasty habit, sure. But what if he swallows it instead?
SQF: I read a comment by one editor who said she keeps a blacklist of authors who respond to a rejection in a less than professional manner. I'm sure you know what I mean. What do you want authors to know about the stories you reject and how authors should respond? Along this same idea, do you mind if authors reply with polite questions about the comments they receive?
RS: Being a writer myself, I understand how frustrating being rejected for the fifteenth time feels like, but in all those times, I have remembered to keep my head screwed on tight because of this: "If you're good to mama, mama's good to you." And I live by that. And I think when writers want to respond unprofessionally to a rejection, that's their right, but just know that I have friends.
Now, I usually send a polite rejection letter detailing exactly why a submission was rejected, so usually I don't get too much correspondence after that point. Thankfully, I have yet to be insulted by a writer, but I know what to do if I do...I'll probably go tell all my little friends. Most of the time, I reject pieces because it's not the kind of writing we'd like to publish...okay, that's fine. That means there's someone else who'll probably publish it. So don't ruin your chances by being mean to magazines after they say no.
Be professional. Always, always, always be professional. People will like you better that way.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
RS: Probably: "What are some specific topics you're interested in?"
And I would answer like this: Read the content already up on the site. It's hard to pin-point exactly what I like, but perhaps narrowing the list will be shorter. I do not want to receive genre fiction (Westerns, romance, sci-fi, fantasy, etc.) or anything other than literary fiction. When I say literary fiction, please do not let it be synonymous with "serious" fiction. In fact, if you can make us laugh (usually through wit or dark humor and the like), then we will be all the more in love with your work. We have been pretty well-known for publishing slam poetry, bizarro prose/poetry (without the fantasy and all, or without magic or voodoo or anything silly like that), and stuff that conservative people should not read if they want to sleep well at night.
Thank you, Ryan. We all appreciate you taking time from your busy schedule to participate in this project.
NEXT POST: 5/24--Six Questions for Adam, Editor, Morpheus Tales
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