PUBLISHING


by Jim Harrington

jimharrington2

Market Added

Resource Added

  • Mash Stories—At Mash Stories, you set your own rules. We evaluate your story for its content, and not its formatting. We help you promote your work, rather than demanding exclusive rights to it. Our contributors take three unlikely words and turn them into an absorbing tale of 500 words. The winner receives $100. We also offer a blog filled with tips for setting your pen to paper as well as enthralling interviews with contemporary writers.

Editorial Change

  • Christopher Allen recently joined the staff of SmokeLong Quarterly as Managing Editor. This from Christopher.

Since 2003, SmokeLong Quarterly has published tight, provocative sudden fiction by hundreds of the genre’s most exciting voices. Since 2003 SmokeLong hasn’t changed much. For the last decade, readers have enjoyed a solid, challenging mix of very brief fiction. All you have to do to see this is read SmokeLong Quarterly’s Best of the First Ten Years anthology. I took it to dinner a few nights ago and wept in public.

Last week I joined the team at SmokeLong despite the fact that they made me cry in a Bavarian restaurant and that I’m a militant non-smoker. I do, however, read lots and lots of sudden fiction in the time it would take me to smoke a cigarette if I were so inclined, so I have loved SmokeLong for years. It has always been that journal where I say (gnashing teeth) “Wow, I wish I’d written that.”

I’ve guest edited twice for SmokeLong and both times was so impressed by the quality of submissions. Before one of my stories was accepted, two were rejected, so I know how it feels to strike a chord that does not resonate. Just a week into editing for SmokeLong I’ve read almost a hundred stories. A lot of them are really good. Really. Now I see how high the bar is set.

SmokeLong Quarterly also hosts the Kathy Fish Fellowship, which has supported five writers-in-residence since 2007. SmokeLong has NEVER charged its writers for submitting, NEVER charged contest fees, and ALWAYS keeps submissions open 24/7, 365 days a year. How do they (and now we) do it? SmokeLong is run by editors who love what they (now we) do.

I’m telling you this because SmokeLong Quarterly needs to redesign—not just a facelift. SmokeLong wants the journal to feel as good as it reads. SmokeLong, our old friend, wants to be more efficient, more reader-friendly. I’m in.

I hope you’ll support us.

https://www.kickstarter.com/projects/361307656/help-us-redesign-smokelong-quarterly

Christopher Allen

View the complete markets list here.

View the complete resources page here

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Jim Harrington began writing fiction in 2007 and has agonized over the form ever since. His stories have appeared in Every Day Fiction, Liquid Imagination, Ink Sweat and Tears, Near to the Knuckle, Flashes in the Dark, and others. He serves as the Managing Editor for Flash Fiction Chronicles (http://www.everydayfiction.com/flashfictionblog/). Jim’s Six Questions For . . . blog (http://sixquestionsfor.blogspot.com/) provides editors and publishers a place to “tell it like it is.” You can read more of his stories at http://jpharrington.blogspot.com.

by RK Biswas

Ekphrasis is not a common literary art form as far as fiction is concerned, unlike its use in the case of music or painting. How can one category of prose try to relate to another by delving into its essence and spirit and still manage to come up with a story that narrates the original story without becoming a copy or a caricature? A question like this begs another: How can a cat disappear into thin air, leaving behind its smile intact?

Seabrook Cover

Going by William Todd Seabrook’s chapbook, The Imagination of Lewis Carroll, it is all perfectly possible, and as easy as finding a wonderland beneath the ground, as long as one is willing to lose one’s conventional senses, conventional essences, and conventional ideas of what a writer is supposed to do. Carroll’s Cheshire cat did just that; un-cat itself I mean. And we, the readers, can too, so long as we are willing to enter Lewis Carroll’s mind through the tunnel, or rabbit-hole if you will, that Seabrook has dug in his chapbook, published by Rose Metal Press.

As Michael Martone says in his introduction, “It is into one of these mad elastic petrified steam-punked tropic jungles of a book of wordy words that William Todd Seabrook prospects here, using the fracking apparatus of flash fiction to crack open the quarried quarry and mine the refined riches he finds elaborated within Lewis Carroll’s work.” He explains further, more succinctly (lest we wear the Mad Hatter’s hat the wrong way or pour the potion down the drain, perhaps!), “this is a gutsy book as it confronts the exhilaratingly convoluted quagmire of high Victorian nonsense with a minute poacher’s spade shaped from a sterling coffee spoon.”

A “gutsy book that confronts…with a minute poacher’s spade….” This is what the reader encounters right from the start, during that golden afternoon when Seabrook’s Lewis Carroll begins to disappear, not the way the Cheshire cat does, but almost as if he is being consumed by his own story, each physical sense at a time. Carroll has no power to stop it, for every time he tries to end the story, the imaginings, by saying “the rest, next time,” the three Liddell sisters cry out, “it is the next time.”

In Seabrook’s chapbook, we trace Lewis Carroll’s life and imagination through this portal of “next time,” which lets us grasp the kernel of his sensibilities, and creativity, without being tied down to physical reality. Needless to say, the situations that spring up from the pages are indeed about being in the ‘next time.’ No present time can be more bizarre. So it has to be a time that cannot be clocked at all. Readers on a quest will certainly be given answers. Just as all ‘ravens and the writing desks had answers, and none of them actually right.’ Not one from the total of 500, asking the same question; so it is here as well.

Seabrook is after all imagining what Lewis Carroll did—digging a hole and closing it up again, ‘leaving his discovery to be discovered by other (children), again and again.’ We are taken by the hand down Seabrook’s rabbit-hole, and not only led through events in Carroll’s life that wound up in the book but also the other way round; book life and real life events being interchangeable. The experience is akin to Alice falling, very slowly, with plenty of time to look about her in the tunnel.

In The Imagination of Lewis Carroll, we witness an execution, watching young Lewis in the crowd screaming “Off with his head” along with everybody else. We have tea with a Bishop and the grown up Carroll, notorious for his books already, in which his Excellency is shown the door for taking life too seriously. We participate in Carroll’s relentless micro-management of his characters and their appearances, watching helplessly with John Tenniel, the illustrator of his book, but in the end finding them exquisite, because we are on Carroll’s side. We suffer his three-day-long sermon along with his congregation, but in the end we want more, whether it makes any sense or not. We read his essays, and agree (with him) that “a mathematical student must keep his head level at all times–that way it will be much harder for it to roll away.” We practise turning our names into Latin and then anglicizing the Latin names, because we have been convinced that readers of nonsense must be twice removed from reality always. It is of course no surprise that we side with Carroll during his duel with Lord Viscount Newry, even when he steps over his opponent’s broken body, because the duel too is part of “fits of nonsense, completely absurd, but still, it is all that matters.” Like Carroll, we imagine time to be accurate always, and stand in wonder at the intellect pouring forth from his ambidexterity.

Literary largesse, and certainly when it is of genius proportions as in the case of Lewis Carroll, does not come without its shadows. In Seabrook’s retelling of the writer’s life, opium dims memories and knowledge, instead of slowing them down and fading away; life is laid out like a chessboard, and the Red Knight sleeps soundly, knowing that he has already won.

According to Seabrook, Carroll created 5000 card games, as well as word games. After his death they uncovered a chessboard where all the kings, queens, knights, rooks and castles had been replaced with pawns, and behind the board was a picture of Carroll, sitting alone, toying with the world in his head. It gets progressively darker, in spite of the innocence that was Carroll’s hallmark. The controversy in his real life (about photographing children in the buff) has been captured with irony, tenderness and sorrow, paying homage to his friendship with the real Alice. His terror of the Jabberwocky is as real as Alice’s in the book. The looking-glass reflects in reverse. Constantly looking at the world through the mirror, therefore, will take a toll. And Carroll’s interaction with the physical world becomes increasingly fragmented.

The pseudonym—Lewis Carroll—increasingly takes charge of the man christened Charles Lutwidge Dodgson, until the latter is certain that it is not his real name. And we may assume that it was as Lewis Carroll that he won the deadly duel with Lord Newry in 1862, even though it was Dodgson who fired the shot, eschewing a mental duel for a physical one. Dodgson remains a child at heart though, refusing to let the “harsh penetrating eyes” of adults to influence him. In the end, his obsession with childhood and the characters he created, especially Alice, hacks away at him. The world outside Alice’s creator can neither be controlled nor contained.

Seabrook vividly captures Carroll’s terror of being alive in the casual chattering of people long after he is dead, “a terrible fate.” He’d rather be extinct. But in Seabrook’s imagining, Carroll suffers a similar fate at his burial, after dying of pneumonia. Nevertheless, he doesn’t become a prized exhibit in a museum like the dodo. His afterlife, according to Seabrook, is a happy world, where Carroll makes peace with his tormentor, his muse, his alter ego. In Seabrook’s own words:

It is time to wake up,” Carroll said. “One can’t sleep forever.”

But who is dreaming whom?” The Red King asked, adjusting his spiked crown.

I should think we are all dreams,” Carroll said. “I can’t imagine anything more.”

What a beautiful imagining of a great writer’s life, lived after his physical life is passed. This is how every lover of Carroll would wish him to be, and for that we must give thanks to William Todd Seabrook for letting the imagination of Lewis Carroll in our lives, making us “fat with words,” “swollen with jam.”

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Rumjhum Biswas

RK Biswas’s novel Culling Mynahs and Crows was published by Lifi Publications, India in January 2014. A short story collection—Breasts and Other Afflictions of Women—is forthcoming in mid 2014 from Authorspress, India. Another story collection from Lifi Publications, New Delhi in mid 2015. Biswas’s short fiction and poetry have been published in journals and anthologies, both in print and online, all over the world. Her poem Cleavage was long listed in the Bridport Poetry Prize in 2006 and also was a finalist in the Aesthetica Contest in 2010. In 2007, her story Ahalya’s Valhalla was among Story South’s notable stories of the net. Her poem Bones was a Pushcart Nominee from Cha: An Asian Literary Journal in 2010. In 2012 she won first prize in the Anam Cara Writer’s Retreat Short Story Contest. She blogs at http://www.rumjhumkbiswas.wordpress.com

by Jim Harrington

jimharrington2

Markets added

Editor Interview Added

Contest added

View the complete markets list here.
View the complete resources page here.

______________________

Jim Harrington began writing fiction in 2007 and has agonized over the form ever since. His stories have appeared in Every Day Fiction, Liquid Imagination, Ink Sweat and Tears, Near to the Knuckle, Flashes in the Dark, and others. He serves as the Managing Editor for Flash Fiction Chronicles. Jim’s Six Questions For . . . blog provides editors and publishers a place to “tell it like it is.” You can read more of his stories at http://jpharrington.blogspot.com.

by Christopher Bowen

Christopher Bowen

I was first introduced to the Chicago Center for Literature and Photography’s publishing when I downloaded a free pdf of a book by Chicago local, Ben Tanzer. It was a book based on his thoughts while jogging.

Years later, I found myself part of a reading in Chicago through Curbside Splendor, where I met Ben, had coffee, and discussed CCLaP and Jason Pettus.

 

CCLaP

The design work in CCLaP’s books is phenomenal. And their website boasts multiple free pdfs of titles—something I had tried as a chapbook publisher, but executed here very well just by the sheer numbers in their line. I believe this is not only extremely innovative, but an important note to the literary community.

When I returned to Cleveland, I wrote Jason and requested an ARC pdf of one of their most recent titles, Four Sparks Fall, by T.A. Noonan.

foursparksfallcover400

A novella of a coming-of-age story between two teenage twin girls, Four Sparks Fall will catch you off-guard. As one of the sisters reconciles her friendship with her twin while preparing to leave for an acclaimed prep school, the story is told from the two perspectives of one leaving, of one behind. It’s difficult at first to decipher their individual voices this way (as one’s thoughts are in italics, the other’s grounded in unitalicized paragraphs) but as twins doesn’t this make sense?

The story goes and the pages turn, you see these two distinct young women for who they are, who they were to each other, and for what they may become from “the biggest small town in the world,” Baton Rouge.

T.A. introduces us to a slew of mutual friends: the boy who comes between the twin sisters, the parting gifts these two girls leave for each other  in reconciliation, hope for the future, a new diary.

What I found really entrancing about this novella was its seriousness about adult issues given to teenagers. They ‘inherit’ the problems of their Baton Rouge adults and parents. How do we escape our past? How do we reconcile for the future, even with the things we are born into? Part dark, young adult literature, part smart, literary process, Four Sparks Fall is just that. It’s about sparks that have fallen, the lost optimism and innocence of youth, and the story of twins, Geminis, meant for distant, distinct places in our universe.

If you get the chance, I would definitely meander over to the CCLaP website and browse their catalog. Find this book, download it (it’s free) and enjoy. Chicago has a lot to offer the literary world.

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Christopher Bowen is an Ohio author and culinary chef. His recently-released personal fiction chapbook, We Were Giants, is available from the publisher, Sunnyoutside Press. He blogs at burningriver.info.

By Andree Robinson-Neal

Andree Robinson-Neal

Back in January, Bonnie ZoBell interviewed Pure Slush founding editor Matt Potter and because FFC readers were interested in learning more about him and the Pure Slush chapbooks and authors, your intrepid FFC staffers grabbed Matt and threw a few more questions at him. Also, a number of his authors from the Year in Stories series came along for the ride.

First off, let’s hear from Matt:

So Matt, what was the seed for the idea of the Year in Stories project?

I was reflecting on my wish to have Pure Slush publish a book a month in 2013, and realizing very early in the year that this was not going to happen. I first thought one story a day, 365 writers … and then thought, no. But 31 writers each taking the same day of the month, allows writers to develop longer stories across a wider arc. And it snowballed very quickly from there, and the next day, I think, I sent emails asking writers to be involved.

We are now about halfway through the project; has it gone as you envisioned?

As of April, there were 92 stories yet to be submitted and signed off, so while 2014 June Vol. 6 was released in early April, 273 of the 365 stories have been written and accepted. Parts have been more difficult – writers saying “Hey, I need to change something in a story I submitted some time ago” – while other parts have been easier. Five of the 31 writers have finished all their stories, with a few not far behind. Some however, are still only half way through writing all their stories. How best to approach these writers and hurry them along is individual, and a challenge. Sometimes it feels a little like I’m cracking a whip.

Have there been any surprises?

The biggest surprise is the unprompted diversity in stories and styles. Each story cycle really is different from all the others. If I was to do this again (and I’m not) I would start even earlier, 10 months earlier rather than seven months earlier.

What hints (topic ideas, voice, etc.) can you give the readers (and perhaps those who would like to contribute their writing) to your next project?

Come prepared to work on your stories. If a requirement is that the stories be written in the present tense, then write them in the present tense! Keep to deadlines and communicate with the editor. Once the twelve 2014 volumes are complete, I will be returning to 2 smaller projects I have put on hold for much of the last year.

There are plans for something new online in 2015, and another large print project in 2016 … so stay tuned. And in the meantime, Pure Slush is still accepting submissions for online publication in 2014. The theme is travel, and you can find details here: http://pureslush.webs.com/themessubmissions.htm#831675008

The Year in Stories would not have been possible if it weren’t for the authors who, well, wrote stories. We asked a few questions and here are the thoughtful responses from some of this year’s writers:

Why did you want to be a part of this project?

Mandy Nichol: First off it’s a terrific concept, and Matt is fabulous to work with. I usually write very short stories, so to continue to write about the same characters, to get to know them more than I usually would, seemed like a great way to push beyond my normal. I’ve always played it pretty safe and felt it was time to have a peep over the parapet. Now there’s no way I’m jumping out of an aeroplane but with this project I thought hey, this could be my leap into the blue yonder.

Shane Simmons: Quite simply, I noticed the initial posting on the Pure Slush Facebook page, which outlined the idea for the project and was calling for participants. My first thought was “I love this idea!” My second thought was that it seemed ridiculously ambitious! A single person (Matt Potter of Pure Slush) collating and editing THREE HUNDRED AND SIXTY FIVE STORIES himself (!) but the opportunity to get involved alongside thirty other creative minds, all working on this mammoth project was the huge attraction.

What’s been the toughest challenge?

Vanessa ParisFor me, the toughest challenge has been maintaining the narrative while ensuring each individual story can stand alone. It’s harder than I expected, because each time I start a new month, I have to think, “Okay, what do I have to make sure is included – or at least implied – or risk losing the reader?” Sometimes it’s easy stuff, like making it clear that two characters are in a romantic relationship, but other details are more subtle. In those cases, not only does it have to be conveyed again, you have to find a new way to do it so it doesn’t get redundant over the course of months. Also, there were points where I wished I could go back and tweak a detail or two from previous months, so it would work better with the month I was working on, but that wasn’t possible.

Jessica McHugh: I’ve encountered a handful of challenges along the way, but I think I’m experiencing the toughest right now, at the end. I’ve written the last two stories in my serial, but I haven’t revised them yet, partly because I don’t want to let go. Unlike most short stories, the serial allowed me to spend as much time with my main character, Edward McKenzie, as I do with novel characters. I know him. I care about him. Edward was plucked from a failed piece I wrote when I was nineteen, and after so many revisions that still led to rejections, I thought I might never have the chance to introduce him to the public. But thanks to 2014: A Year in Stories, he’s experienced more than ‘a day in the sun.’ It gave me the opportunity to explore his personality so much more, and I’m incredibly grateful for that. It going to be tough saying goodbye.

Was there a point where you thought “I must be crazy for agreeing to do this?”

Michael Webb: Towards the end of the project, it got more difficult to come up with events for each story that were plausible and compelling in and of themselves while still furthering the overall yearlong growth of the characters. It was like playing chess against multiple opponents at once.

What, if any, affect has this project had on your writing?

John Wentworth Chapin: I thought this would be a side project. It’s not. It’s a tremendous project, and it has swelled like a gas to fill its container: 2014. I am excited to see where it ends up. Moral of the story: be prepared.

Lynn Beighley: I’m more of a short story writer than a novelist, and while these are essentially connected short stories, there is a feel of the novel about them. I’m learning.

What was the best piece of advice you received from Matt about your work through this project?

Gill Hoffs: I wish I could remember – to be honest, I usually absorb what Matt says so it’s hard to bear particular comments in mind.  When I first worked with him he sent me a lengthy email full of tips and advice which I printed off, highlighted, and taped inside my workbook.  I used to tell Matt working with him was like a mini-MFA!

But wait! There’s more!

Each writer answered all of these probing questions; Matt will be posting the full interviews soon so keep an eye on Pure Slush and his blog for details.

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Andreé Robinson-Neal got bit by the writing bug back in the late 1970s while watching Rod Serling and reading Ray Bradbury–both of whom are everyday inspirations; although she has worked in education for more than a quarter-century, she has never been cured of her penchant for speculative fiction. Find some of her flash fiction at starvingartist.com. She writes under the name AR Neal, who will hopefully one day be identified as a famous NaNoWriMo participant.

 

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