Friday, September 30, 2016

Six Questions for Sarah Page and Elizabeth Pinborough, Editors, Young Ravens Literary Review

Young Ravens Literary Review publishes fiction and nonfiction (to ten pages), visual art, and poetry of all flavors. Read the complete guidelines here.

SQF: Why did you start this magazine?

Sarah and Elizabeth: We started this magazine because we believe creativity is cyclical, one dream feeding into another. So to nourish our own creativity we celebrate the unique creative visions of others with the hope that all our combined fantasias will flare against each other and exalt us on our common journey through existence.  As we say in our masthead, “We are the hungry ones who cast our souls to the edge of the universe in our never-ending migration for creative nourishment. Our name is inspired by Psalm 147:9: ‘He giveth to the beast his food, and to the young ravens which cry.’”

SQF: What are the top three things you look for in a submission and why?


Specificity: We want work that explores a central idea, main metaphors, or powerful imagery rather than a collection of random ideas and scattered images that barely interconnect.

Newness: No tired clichés. We want work that teaches us to view the world on a new and startling slant of thought.

Cohesive ending: We want works that are not too abrupt in their conclusion, but tie together all the thematic loose threads.

SQF: What most often turns you off to a submission?

YRLR: Graphic violence, erotic material, and submissions that ignore our issue theme, which is easily viewable on our submission guidelines page.

SQF: Do you provide comments when you reject a submission?

YRLR: Not usually, unless we think there is potential in a revision. In that case we will include our editorial notes and invite the author to revise and resubmit.

SQF: If Young Ravens Literary Review had a theme song, what would it be and why?

YRLR: Definitely Carole King’s song “Wasn’t born to follow!” King’s steady, sure melody takes listeners on a journey into a prismatic wilderness where the singer discovers “colors that no one knows the name of,” and gains a vision of herself unencumbered by the false trappings society has told her she needs to become her truest self.

SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?

What would you like to see more of in your submissions?

Raven art!

Thank you, Sarah and Elizabeth. We all appreciate you taking time from your busy schedule to participate in this project.

Friday, September 23, 2016

Six Questions for Lucy Johnson McDowall, Executive Editor, The Quarterday Review

"Quarterday is international literary magazine committed to promoting and preserving prosody in classical, metrical, and other traditional forms, including long and epic poetry, welcoming submissions from both emerging and established poets. We seek to publish the best English language poetry from around the world." Read the complete guidelines here.

SQF: Why did you start this magazine?

Lucy Johnson McDowall: I can only say that my desire to start Quarterday came from a deep-seated sense of emotional masochism.

To expand: Quarterday began as a project in my writer's community in response to the classical poets — the formalists — complaining there were hardly any markets for classical verse and particularly long and rare-form poetry. Most literary publications didn't have the editorial skill to judge a good formal poem from a bad one, and in a good many places, writing a sonnet or a villanelle or a pantoum was considered a kind of parlor trick by clever scholars rather than real literary art.  Additionally, songwriters — lyricists — were being universally ignored or even dismissed as poets completely with no or scant mention of their contribution to prosody.

Secondly, after a century of free verse dominating poetry, it's becoming clear that poets are not writing classical verse. Poets are also not writing epic or long poetry because publishers wanted shorter pieces.  The long narrative poem is dying as an art form the vital force of metrical poetry is becoming lost to history.  Compounding the issue is the fact that the few classical publications that exist have restricted subject matter.  The scarcity and restrictive nature of the existing markets means that the pulsing blood beat of the English language that makes real poetry — transgression, truth, beauty, love, money, power, crime, sex, politics, religion, violence, social commentary, blood, tears, rants, freedom, restraint, darkness and light — is being carefully sanitised out of the body of metrical poetry.  What remains is an editorial preference somewhat anemic, technically skillful execution of words without any of the soul that makes real poetry. What Quarterday tries to do is to take the primal emotion we associate with free verse and place it under metrical restraint: the idea is that when you place the flow of words under some pressure of form the result is a greater emotional force.

Thirdly, the QDR sprung from the idea that language, poetry, and prosody, in general, should be a rejoicing of language. We should be clever in its use. We should delight in it. There's a disturbing school of thought that lays down rules that you can't place an adjective after a noun, that you can't use Middle English or arcane diction (why ever not? It's fun, dammit, like everything else, you just have to do it well). There's also widespread, and erroneous belief that the Poet's 'voice' rather than the narrative is all. Balderdash and poppycock. Overfocus on the 'voice' leads to a kind of literary narcissism. The rules of narrative poetry are the same for narrative fiction, even if the speaker is a real person or even the Poet themselves. Quarterday is your antidote to all that — a bubbling witchy caldron of antidote. Or poison. After all, we've carried everything transgressive stanzas about a man's Pygmalion-like obsession with a sex doll, to a sonnet from a dominatrix about flogging her sexual submissive, to a tortured, violent pantoum about two men locked in an unhealthy relationship. We've also featured the sublime translations of the 19th Century German romantics, light verse about Godwin's Law, and haiku featuring burned sausages, and a ghazal about censorship.  Quarterday began, and still is, a journal which seeks to nurture a real creative environment in which poets can preserve, and experiment with, classicism.

Finally, because myth and narrative, the tale, the story, is everything in a good poem. The journey, in fact, hence the subtitle to our journal, The Poetry of Mythic Journeys. Quarterday takes a lot of modernist formalism, but we also have a sizable body of poets who revel in their gothic and Romantic sides. We showcase writers who explore the mythologies of the cultures from which they come, poets whose realism is magical and whose magical is real, poets who revel in the earth conscious, indigenous, and mythic subject matter, poets who write fantasy fibs and sci-fi sonnets.  We take the fantastic as well as the sober; we take the arcane alongside the mundane, and I think there's room for this in any healthy classical poetry scene.  For this reason, our issues are themed around the four ancient Celtic quarter days, but as those festivals typically celebrated a vast range of human experience and seasonal change, we can usually find a poem will find in one or other. For example, May (Beltane) celebrates positive themes of sex and sexuality, love and marriage — but it also carries other meanings, such as pastoral farming. So your pet or animal poems would go in the May issue.  Samhain is the best known of the Celtic festivals as the commercial holiday of Halloween, but as the Celtic and Aztec Day of the Dead, the issue also comes at a time when we remember the military and civilian dead. And so alongside ghost story poetic narratives, we also have pages dedicated to war poetry. We've grouped these seasonal themes in our submission, and the idea is that humanity is still linked to the world we live in by the natural world and the turn of the seasons.

SQF: What are the top three things you look for in a submission and why?


1. It is the tale, not he/she who tells it. The Narrative is everything. The poem must tell a story, offer insight, reveal a character, demonstrate a turn of thought.

2. Does the form chosen follow function?  If you are writing about an obsession or futility, the villanelle or sestina might lend itself to those themes. But why would you choose the free verse to write about a bondage session with your — sorry, the narrator's — lover? Choose iambics for that, or a form which has liquid freedom but has poetic handcuffs slapped on it.  Writing about a horse? Consider the galloping meter of dactylic tetrameter. Narrating a heroic journey where the hero ends up back home? Consider the heroic sonnet crown as a fitting form for your story (and good luck, they're very tricky).

3. A perfect marriage of passion and form, emotion and restraint. This means the poet has to maintain a great deal of discipline in their writing. If you understand how this passage from Kahlil Gibran's novel The Prophet pertains to classical poetry, then we want to read your verse:
"Your reason and your passions are your rudder and sails of your seafaring soul, if either your sails or your rudder be broken, you can but toss and drift, or else be held at a standstill in mid-seas. For reason, ruling alone, is a force confining; and passion, unattended, is a flame that burns to its own in reason and move in passion."

SQF: What most often turns you off to a submission?

LJM: Ah. The sh*t list. Okay. You asked for it.

Number one on this list is the poet failing to read the submission guidance and failing the submissions form to submit.  We have a style guide and a submissions form that we really need poets to follow, all for back-end editorial reasons, and a submissions form, all set out so that you can get your poems into our house style with a few minutes extra work (which saves hours of our time when we assemble the magazine). The other reason why we ask you to use the submissions form is that unlike specialist magazines, we take every classical form in existence, and it's impossible to be experts on all of them. Asking the poet to identify the form and place notes on any variations allows us a starting point for classical assessment, and it also allows us to run the work by experts if the poetry form chosen is exceptionally rare. There are very sound editorial reasons for our submission process being the way it is, and most of them come back to "the editor is a very busy woman and has almost no money to do this, so don't make it hard for her".

Number two is the poet not reading the publication. It's not as if we're asking you to buy it. It's free, free I tell you.  In your cover letter, we ask you to tell us what you like or don't like about the publication. We want to see evidence that you've read it (that's why we ask you to tell us what you liked or didn't like about the journal in your cover letter). If you just write 'I really like your mag and read it all the time' I'm going to suspect you're just bullshitting me. If you write "I've enjoyed some of the modernist sonnets by Poet X but the arcane language in those awful gothic sonnet crowns in the Imbolc issue really wigs me out..." it's a sign you've engaged with us and are not just publication-credit chasing. A cover letter showing how you’re engaging with our publication — even one which offers constructive critique — makes us feel less alone in the universe and creates a sense of excitement about reading your work.

Number three is sending us a free verse poem and trying to pretend it's a variation on a classical form. I love free verse. I read it, occasionally I might be caught writing it, some of my favorite poets are free-versers. Folks, we’re trying to kick start a classical revival.  A five-line free verse thingy instead of a tanka, a three-word 'haiku', three paragraphs of prose poetry and calling it a 'sonnet.' No. Don't do that. If you want to send us free verse, place it in your six poem limit, and send us five classical and one free verse. We have taken exceptional free verse before, and we'll do it again. Please don't send a free verse to a classical journal under the pretense of a classical poem. Just don't.

Number four — rigid adherence to form with no real passion. Just as inattention to form will get your work rejected, so too will lack of everything that makes a poem a poem rather than a technical performance in meter or syllable counting. I want to listen to the finished symphony, not your musical scales.

Number five — do we really need to say it? Sexism, racism, trans or homophobia, and hate speech (including taking a potshot at someone’s religion or political opinion), obscenity or graphic violence with no narrative purpose.   And no, that does not mean we will not accept transgressive poetry where the narrator is a hateful, hate-filled person. That does not mean we won’t publish political or religious satire of literary merit. That does not mean we won’t publish a smutty comedy or moving piece of erotica. The question you should ask always is ‘what’s the story, here?’

SQF: Do you provide comments when you reject a submission?

LJM: Quarterday works a little bit differently from other literary publications. Each poem is read and discussed by an editorial board, and we don't have 'screeners.'  This means I, as the executive editor, read every poem that comes in.  After the last issue, it became clear that our poets were partners in preserving rare and ancient forms of poetry, and we were all working together to try and restore these forms to fresh English usage. Not fossils, but living breathing lizards and birds. Think of us as a hideous poetic Jurassic Park, an island of living myth and monsters. We realized that to help our poets reach levels of competence in their chosen forms we needed to start giving constructive technical feedback. We have no money. Almost no time. So where we can, we give the feedback.

At this stage, our staff is small that the degree of feedback received depends on how early the poet submits.  We accept and typeset each issue as we go.  If you get your work in early in a reading period (again, listed on the submissions page) we'll be able to provide detailed feedback where we reject, and you may be asked to revise it and resubmit it.  Usually right before the end of the reading period, we get a stack of submissions which means all we're doing is voting with scant comment — that's when we send out the form rejections. So the key is to work with us, we're only human with many calls on our time. In late January, April, July, and October, we're just too busy trying to get the journal together and edited to give the feedback you need.  However, if you submit your Halloween poetry in, say, late August or early September we’ll be in a better position to offer feedback on your work.

SQF: What advice can you offer poets wanting to be published in Quarterday for the first time?

LJM: We've published people with doctorates in poetry, we’ve published professors of creative writing and English Literature, we’ve published award-winning poets with dozens of collections to their name and hundreds of publication credits ...  and we've published people who've sent us the very first poem they've ever written. We don’t care. Your poem must be a real poem, full of emotional force and satisfy the requirements of your chosen form. You have to start submitting your classical poetry somewhere, and we think you should start with us.

Know your forms. Study masters of the form in the English language. Join a critique group.  Practice, practice practice. Have a friend scan the meter, read it aloud. If coming to us with East Asian forms, make sure that you understand what the classical requirements of Asian forms are (don't send us a 13 syllable haiku, or a tanka with four lines).

A lot of free-verse poets gravitate towards us with Asian-form poetry, which is syllabic and not constrained by meter and rhyme. Good routes in for a free-verse poet are haibun and prose poetry. Please note these forms are not flash fiction by another name. If sending us a haibun (strongly preferred) the haiku at the end must be a classical 5-7-5 haiku that satisfies all the elements of a haiku. Some also come to us with blank verse, another good route in.

Everyone's going to more well-known forms like sonnets and villanelles these days.  Quarterday likes to carry a variety of forms, so try something that will surprise us. We've recently had poets send us rare Welsh syllabic forms, which was wonderful because it means poets, knowing there is a market for them, are starting to write in them again. Find that rare form and make sure it fits what you’re writing about, or try using rarely-seen versions of a form, such as a sonnet crown. The submissions form allows you to add notes to the form you've chosen, and we do go and research the forms we've never seen before and place editorial notes. The idea is that Quarterday becomes a showcase for these forms, and encourages poets to try writing in them.

SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?

LJM: Do we review poetry collections, journals, and primers?

Yes, we do, and there are lots of reasons why you should send us an Advance Review Copy (ARC) of your chapbook, collection, poetry writing how-to or your literary journal. Book reviews are placed on our website and featured reviews are also published in the print edition. We review both classical and free verse poetry, and our reviewers are ranked among Amazon Top Reviewers, and are experienced critics.

We don’t (nor will we ever) charge a fee for submitting a poem to the Quarterday Review, but we do charge a reasonable reading fee for our review service (roughly a tenth of the cost a review service like Kirkus). You will receive a genuine review with both positive and critical comment, and your money goes straight to covering the costs of Quarterday, and eventually to paying our contributors — a long term goal of ours is to be a professional rate paying market and that money must come from somewhere. We will consider reducing or waiving the reading fee in the case of self-published poets who can evidence very low or no incomes.  We review randomly-purchased poetry as well, and there’s no way of telling (our reviewers work blind) which reviews are unsolicited and not paid for, or solicited with a reading fee. Everyone gets treated the same.

We never publish reviews of poetry we cannot recommend. This means that if we don’t like your poetry, you’ll get private feedback and not a public gutting. We craft our reviews so that you have quotable sections for your website and front cover of your book. For solicited reviews we give the publisher a final veto on the review before we go to press. The fee also pays for our reviewers’ time in case the publisher exercises their veto.

Thank you, Lucy. We all appreciate you taking time from your busy schedule to participate in this project.

Friday, September 16, 2016

Six Questions for Stephanie Johnson, Editor-in-Chief, The Passed Note

The Passed Note is a new literary magazine publishing works by adult writers for its target audience of young adults. The magazine accepts fiction under 5,000 words, stories under 10,000 words for serialization, poetry, creative nonfiction under 5,000 words, craft essays under 1,000 words, previously unpublished interviews with young adult authors, graphic short stories to five pages, and visual arts. Read the complete guidelines here.

SQF: Why did you start this magazine?

Stephanie Johnson: I started The Passed Note after reading a collection I found in my local bookstore titled Rags and Bones, edited by Marissa Marr and Tim Pratt. The collection of re-imagined fairy tales sparked a thought in my brain: why isn’t there more short fiction for a YA audience? Why aren’t there more magazines for short YA fiction? Or YA poetry? Or YA art? And not short fiction, poetry, and art by young adults; there are so many magazines for that. I meant for young adults, created by those of us who have been there and know exactly how much a simple note passed under a desk can change your whole day.

SQF: What are the top three things you look for in a submission and why?

SJ: Because of the nature of our magazine, we look for a lot in our submissions. Not only do they need to be YA, they need to fit the audience. Writing for YA is difficult, because you don't want to speak down to your audience. If anything, I feel teens get it more than adults do sometimes. The last thing I check in the first read of a work is whether or not it's compelling. If it doesn't make me want to keep reading, my audience won't either.

SQF: What most often turns you off to a submission?

SJ: I think what turns me off most to a submission is when something is blatantly trying too hard to be cool or edgy. Teens are just as vulnerable to art as adults, they don't need writers trying to appeal to them on a "cool" scale. That's just patronizing. If it doesn't have heart, I can't publish it.

SQF: Do you provide comments when you reject a submission?

SJ: Sometimes I do provide comments with rejections. If I come across a piece that I feel isn't YA, I'll say so. I don't want the author to think I'm rejecting them because it's bad work: it's just not for us.

SQF: Will you publish a work previously posted on an author’s website/blog?

SJ: We will publish previously published work if the author has the ability to take it off their blog. Otherwise, no.

SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?

SJ: I wish you asked "what is YA?" because it's my favorite question to answer. YA is. . .
Girls dying. Boys dying. Girls living, boys living. Girls living as ghosts. People falling in and out of love. People who don't get in to college. People who do. YA is monsters and men. YA is ghouls and goblins. YA is poetry. YA is nonfiction. YA doesn't care about your genres or your genders. YA is literature and art meant for young adults. Period.

Thank you, Stephanie. We all appreciate you taking time from your busy schedule to participate in this project.

Friday, September 9, 2016

Six Questions for Shannon, Owner, and Grace Black, Managing Editor, Flash Fiction Magazine

Flash Fiction Magazine publishes previously unpublished fiction between 300-1000 words. Read the complete guidelines here.

SQF: Why did you start this magazine?

Shannon (Owner): I didn’t start Flash Fiction Magazine; I acquired it when the previous owner got ill and had to sell it. It already had a decent following and I thought it would make a great compliment to my other site, 101 Words.

In the future, we will be publishing anthologies on a regular basis. Our first anthology was released in March, and we have a few more scheduled to be released this summer and fall.

You can download the March issue for free.

At FFM we are going to keep things simple—publish one story a day online and select the best stories to be published in eBook, and eventually print.

The future of 101 Words is a little more complicated. At 101 Words we provide feedback to every story that comes in. We want the submission process to become a chance to learn. Since the word count is low, we are able to help authors fine tune their stories and help them grow as writers.

I have many plans for 101 Words, most of which revolve around education. If anyone wants to keep up with what we are doing, I encourage them to join our Authors Only List when submitting a story to either site. I send one email a week to the Authors Only List and topics include: writing tips, self-publishing, author resources, and stories from my personal life. Nobody is bored with them…yet. :)

SQF: What are the top three things you look for in a submission and why?

Grace Black: I have one real guideline: Make me forget I’m editing.

Good fiction makes you forget you are reading at all. When I am editing a stellar submission, I find myself going back to re-read the story several times because I get sidetracked and sucked into the story, so I forget to actually edit the piece. That is fantastic flash fiction.

I could toss out words like vivid, poignant, re-readable. Or narrative flow; character development; beginning, middle, end. But honestly, just make me forget I’m an editor. Suck me in as your reader.

SQF: What most often turns you off to a submission?

GB: He said.
She said.
He did.
She did.

If you scan a 1000 word document and a majority of the paragraphs look like the above, you’ve lost me. Or any variation of each sentence beginning with he/she (insert average verb of your choice) one after another. It makes my mind want to snatch my eyeballs inside my brain to stave off boredom. Or ya know, fall asleep at my computer. Snooze fest.

I know every editor preaches the “show” don’t “tell” bravado. But I don’t think the intrinsic quality of the message is explained in enough detail to be consumed by the everyday writer.

Here’s the deal. Break shit up. Give us a mix of your fancy-schmancy literary devices blend them with careful brevity and stir that pot, baby. Then toss in the wow factor. The unexpected. Variation. Variety.

Of course, there are times where you need “tell,” duh! I recently read an interview with a trite list of Bad Writing Advice. Needless to say, the show-tell debate was broached. Anyway, this article was presenting its case for bashing the “show” argument, wherein you don’t need a thousand pages of backstory. Again, duh! Moderation is key. (Plus we only publish 300-1000 word stories, so there’s that.)

My best advice is to read more: a broad variety. Learn some new literary techniques and implement a few (in moderation). Then read your work out loud. (Seriously, this helps find flaws in repetition and flow.)

SQF: Will you publish a story previously posted on a writer’s website/blog?

GB: No. We only publish previously unpublished work. Google does not like duplicate content, so blogs and personal websites show up in a search. We strive to bring the reader fresh, new content 365 days a year.

SQF: Do you provide comments when you reject a submission?

GB: Our goal is to provide some type of useful feedback to each of our writers, and we believe in forging lasting relationships with our authors. Since my time at FFM, we have grown immensely. Most recently we invited Mark Anderson on board (who rocks), and he is an expert at zeroing in on the minutia and providing practical feedback to inquiring writers.

SQF: Based on your experience as an editor, what have you learned about writing?

GB: “Writing has laws of perspective, of light and shade just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.” Truman Capote

I think the above quote sums it up nicely. One size does not fit all. Take what you learn and make it your own.

SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?

GB: How many cups of coffee did I drink as I typed this up: Three.

Thank you, Grace. We all appreciate you taking time from your busy schedule to participate in this project.

Friday, September 2, 2016

Six Questions for Peter Clarke, Managing Editor, Jokes Review

Jokes Review is a literary journal that publishes fiction, creative nonfiction, poetry, and art. The journal is open to experimental works, humorous works, and scraps of writing that may or may not be classified as jokes. In addition to traditional prose and poetry, Jokes Review would love to see submissions of rants, rogue journalism, and manifestos. Shorter works are best, but the editors will consider pieces up to 3,500 words. Read the complete guidelines here.

SQF: Why did you start this magazine?

Peter Clarke: I wanted to create a magazine that combines highbrow quality with lowbrow entertainment value. There aren’t many places that publish truly wild writing. When they do, it’s usually gimmicky or full of genre stereotypes.

Plenty of great writers have a secret treasure trove of absurd writing. For example, James Joyce’s letters to Nora. Even Roald Dahl (author of “Charlie and Chocolate Factory” and other children’s stories) published several over-the-top comedies and even a few sex novels.

Weird and unhinged writing goes all the way back to the birth of the novel with Rabelais and Cervantes. Yet the average respectable literary journal shies away from anything edgy or unpolished. Drunken rants, absurd manifestos, and outsider scribbles can all be great literature. That’s what Jokes Review wants: we want Rabelais for the 21st century.

SQF: What are the top three things you look for in a submission and why?

PC: Literary magazines tend to ask for a writer’s “best” work. For us, that’s the last thing we want. Writers should save their best work for The New Yorker. Instead, we want to publish a writer’s favorite work. As an editor, I can usually tell when a writer truly enjoyed writing something; likewise, I can tell when they wrote something because they thought it would make a “good” story.

Along with that, these are the top three things I look for in a submission:

1. Voice
2. Originality
3. Entertainment value

Voice, originality, and high entertainment value are things that can’t be faked. Everyone has a unique voice and original ideas, but it’s incredibly rare when someone can translate these things into a written work. You’d never confuse a George Saunders story for a Richard Brautigan story, just like you’d never confuse an Ishmael Reed story for something by J.P. Donleavy, Donald Barthelme, or Charles Bukowski. These writers with exceptionally strong voices are also some of the most entertaining authors out there.

SQF: What most often turns you off to a submission?

PC: Melodrama tops the list. Almost 100% of the time, melodramatic stories come off as cheesy. So, we don’t plan on publishing many love poems.

Also stereotypes. Reading a story with stereotypes is like listening to a cover band. Even if it’s good, it’s the product of a lack of imagination and it’s phony.

My last turn-off is pretty specific, but I have to mention it. If the words “my father” appear anywhere on the first page, I’m going to be skeptical. It’s hilarious how often “my father” is a character in stories. Do people really think their dads are that interesting? Along with “my father” stories, stories about family issues in general are usually boring, overdone, and full of melodrama and stereotypes.

SQF: Will you publish a work previously posted on a writer/artist's website/blog?

PC: We’re not entirely opposed to this so long as the writer/artist is upfront about it. We’d prefer to be the first place a work appears. But if George Saunders came to us with a story he’d posted on his website, there’s no way we’d turn it down. He could publish a story on a damn billboard first and we’d still publish it.

SQF: If Jokes Review had a theme song, what would it be and why?

PC: Our theme song would be “I’m the Man to Be” by El Vy (the musical project of Matt Berninger from The National and Brent Knopt from Menomena). This song is irreverent, weird, slightly vulgar, self-deprecating, and intelligent without being pretentious. It’s also modern, independent, and the kids dig it. If you need something to dance to alone with an overpriced beer in hand, this is your song.

SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?

PC: What are our favorite literary journals? That’s a pretty great question I’d like to answer. I really like 3AM Magazine. Their aesthetic is cool, their website is easy to navigate, their stories are fun and unexpected, and they’ve got the best slogan: “Whatever it is, we’re against it.” Genius!

The editors of Jokes Review (Matt Kramer, Mark Dwyer, and myself) also admittedly crush out on The New Yorker every now and then (especially when they do something rad like publish Robert Coover, Denis Johnson, Joan Didion, or articles about quitting your lousy day job and traveling).

A few other favorites: McSweeney’s Internet Tendency, Cheap Pop, Drunk Monkeys, Zoetrope All-Story, Joyland Magazine, Blunderbuss Magazine, The Café Irreal, A Public Space, ZYZZYVA, and Hobart.

Thank you, Peter. We all appreciate you taking time from your busy schedule to participate in this project.