October 8, 2017 § 1 Comment
A look inside the submission and acceptance process, from Patricia Murphy, Founding Editor of Superstition Review:
We are currently reading submissions for our Tenth Anniversary issue, which will launch December 1. In each issue we feature 10 essays. Our reading period ends October 31.
We have three nonfiction readers: a rotating contributing editor, the founding editor, and our faculty advisor. Using tools in Submittable, each reader adds a “Vote and Note” to each submission. Essays with mostly yes and maybe votes bubble up to what we call “Greens and Grays,” which refers to the color of the submission once it has been given an up-vote. Our team meets each Friday for an hour to discuss the essays in the Green and Gray.
We very often ask for revisions to a piece that has great potential but needs some polish. In fact for Issue 20 already we have accepted two personal essays that took a few rounds of revision between our editors and authors. We find that the authors kindly welcome our feedback and that their work is much improved by the process.
We publish all types of essays but we are particularly interested in stories that are rich in sensory detail. In recent years we might have a bit of an added interest in lyric essays and pieces that show an innovative approach to form.
Some of my favorite pieces from the past ten years include:
Dear Baby,” by Kelle Groom
The Sparkling Future,” by Randon Billings Noble
The Things I Don’t Tell My Mother,” by Allegra Hyde
Rikers Island Workshop ,” by Kamilah Aisha Moon
Contradictions ,” by Patrick Madden
The Wide Open Mouth ,” by Ira Sukrungruang
We hope you will take some time to read the essays we have published over the years, and to submit your work to https://superstitionreview.submittable.com/submit
September 17, 2017 § 2 Comments
From our friends at The Matador Review:
Alternative art and literature magazine The Matador Review is now accepting submissions for the Winter 2018 publication. We publish poetry, fiction, flash fiction, and creative non-fiction, inviting all unpublished literature written in the English language (and translations that are accompanied by the original text) as well as many forms of visual art. The call for submissions will end November 30, 2017.
Our purpose is to promote “alternative work” from both art and literature, and to encourage the new-wave of respect for online publications. In each issue, we offer a selection of work from both emerging and established artists, as well as exclusive interviews and book reviews from creators who are, above all else, provocative. For us, alternative is a way of voice and experience. It is the distinction from what is conventional, and it advocates for a progressive attitude.
When asked by author Angela Yuriko Smith what we’re looking for, Editor-in-Chief JT Lachausse replied:
“We want what you haven’t seen. Allow me to be dramatic: Imagine that every piece of art is represented by a stone. Many stones make up the mountains and buildings, but even more hide beneath the surface. We are so familiar and fond of the overground rocks, but in the caves and oceans-deep, there are stories that tell things wildly. Desperately, furiously, without great laborious sanitizing or editorial puncturing.
Art that seems ridiculous, haughty, aggressive and pathetic. Amateur hour, disjointed comedy, horror shows, family debacles that at first glance seem like New Yorker material, but upon closer inspection offends every cornerstone of ‘fine storytelling’. Not everyone will like it. And that is entirely the point. If you find your pebble at the bottom of a canyon, bring it on over.”
August 3, 2017 § 2 Comments
From our friends at Rose Metal Press:
AUGUST OPEN READING PERIOD
From August 1 through August 31, we will be having an open reading period for full-length hybrid and cross-genre manuscripts. We are interested in short short, flash, and micro-fiction; prose poetry; novels-in-verse or book-length linked narrative poems; flash nonfiction or book-length memoirs-in-shorts; fragmentary works and book-length lyric essays; image and text collaborations and other collaborative work; and other literary works that move beyond traditional genres to find new forms of expression. The best way to see what we mean by hybrid is to take a look at our catalog. We welcome submissions in all styles and on all subjects, and encourage a broad and expansive interpretation of hybridity. Surprise us with your innovation! Manuscripts selected from this reading period will be published by Rose Metal Press in 2019 and beyond.
Manuscripts should be 48 pages or longer. Submissions will be accepted through our Submittable site only. There is a $15 reading fee.
Check out all the reading period details and guidelines here.
Please spread the word to other hybrid genre writers you know!
Submit now through Submittable.
July 12, 2017 § 1 Comment
The fine folks at River Teeth have just announced that acclaimed nonfiction writer Gretel Ehrlich will judge our 2017 book contest.
Gretel Ehrlich’s books have been translated into six different languages. Among her many publications are the essay collections The Solace of Open Spaces (1985) and Islands, the Universe, Home (1991), her memoir, A Match to the Heart (1994), and several books based on her travels. Her awards include: National Endowment for the Arts Creative Writing Fellowship, National Endowment for the Humanities grant, a Whiting Foundation Award, and many others.
The contest winner will receive $1,000 and have his or her manuscript published by The University of New Mexico Press.
Submissions will be accepted until October 15, 2017. All contestants will receive a one-year subscription to River Teeth. For more information on entering please see Contest Guidelines.
June 9, 2017 § Leave a comment
From The Matador Review‘s Public Relations Liaison, Mandy Grathwohl:
Alternative art and literature magazine The Matador Review is now accepting submissions for the Fall 2017 publication. We publish poetry, fiction, flash fiction, and creative non-fiction, inviting all unpublished literature written in the English language (and translations that are accompanied by the original text) as well as many forms of visual art. The call for submissions will end August 31.
Our purpose is to promote “alternative work” from both art and literature, and to encourage the new wave of respect for online publications. In each issue, we offer a selection of work from both emerging and established artists, as well as exclusive interviews and book reviews from creators who are, above all else, provocative. For us, alternative is a way of voice and experience. It is the distinction from what is conventional, and it advocates for a progressive attitude.
Editor-in-Chief JT Lachausse spoke to the Aerogramme Writers’ Studio about Matador’s aesthetic:
For every piece of quality art or literature, there is a home. Some ‘homes’ include work that is regionally or culturally inspired, and some are reserved for particular genders, sexualities, or ethnicities. This sort of exclusivity creates an environment for distinct voices, and due to its distinction, these magazines are considered ‘alternative’ (syn: ‘different’, ‘nonstandard’). What we wanted to do was to open up a home for art and literature that is, in every capacity, unconventional; this could mean a ‘fresh’ voice, or perhaps a peculiar style, or maybe a bizarre subject that would otherwise struggle to find a place willing to parade it. …The Matador Review wants all of your redheaded stepchildren, but we want them on a damn good hair day. And they better not behave.
We look forward to seeing your work!
The Matador Review acquires First North American Serial Rights, and is a non-paying market. More information and contact info on their submissions page.
April 21, 2017 § 1 Comment
Redivider, the journal of new art and literature out of Emerson College, is accepting submissions for the 2017 Beacon Street Prize through the end of April. Redivider’s nonfiction editor, Paul Haney, recently interviewed this year’s nonfiction judge, Ned Stuckey-French, also known as “the most interesting man in the world, when it comes to discussing the essay.”
Stuckey-French touches on Montaigne, Bacon, Adorno, the lyric essay, Eula Biss, the 1980s essay renaissance, and his time spent living “a kind of double life as a janitor and undercover trade union organizer.”
Here’s an excerpt from the interview, but the smart thing to do would be to follow the link to read the whole thing:
Reading essays is kind of like going out to dinner in Manhattan or some other big city. There’s always a great family restaurant that introduces you to new décor and food and presentation and wine and service. In judging this contest I’m hoping for an unexpected dining experience.
I also like to think that my tastes are broad, democratic, and always expanding (though I’ve never been a big fan of anchovies). I like essays that use humor and research. I like essays that make me say, “Wow, I’ve felt that or sensed that, but never heard it put into words.” I like essays that are brave and engaged, essays that tackle big issues though they may go after those issues via a small, quiet, and personal opening. I like essays that are formally inventive but that don’t indulge in form for form’s sake, but use form instead to reveal something about a subject in such a way that when you’ve finished reading the essay, you think, “Of course, that’s the way to say that.” I like essays that are skeptical and unafraid of the contradictions of life. I like essays that recognize that history is sly and we don’t have the universe all figured out even as they try to figure things out. I like essays that describe the beauty of our world – be that beauty wild, natural and inhuman, or urban, constructed, and social.
April 14, 2017 § 1 Comment
Brevity is celebrating its 20th Anniversary! As part of our celebration, we’d like to showcase the various ways the journal is used in classrooms and other workshop settings. Do you teach from Brevity? Send us a brief (but not necessarily Brevity brief) piece about how you use Brevity: a lesson plan, thoughts on a Brevity essay you most like to teach, reminiscences of student reactions to the work. We’ll be collecting these and publishing a selection on the Brevity blog in conjunction with our special anniversary issue, slated for early September.
Send your contributions by August 31, 2017, to firstname.lastname@example.org