Six Questions for Doug Jacquier, Editor, Witcraft

Witcraft publishes fiction, non-fiction and poetry of 200-1,000 words. “We're looking for skillful writing that is brief, humorous and engaging, with the emphasis on wit, word play, absurdity and inspired nonsense. We offer monthly prizes of A$50, A$20 and $A10. Entry is free. Read the complete guidelines here.

SQF: Why did you start this magazine?

Doug Jacquier: I love humour, wit, absurdity, wry social commentary, and people’s funny moments in their lives. I love writers who know how to craft their submissions to reach the audience they crave.

I know there’s a market out there of people who want some daily relief from the gloom and doom that seems to pervade the news and the web. And I know writers who love to write humour.

In despair at being able to find a home for well-crafted humorous work, I decided (with a lot of encouragement from my wife, Sue) to be the change I wanted to see. Hence Witcraft.

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

DJ: We look for stories and poems that share these common elements:

• They span cultures and tap into the universal.
• They are well-crafted and use literary skills.
• They don’t assume that everyone is mired in consumer culture (food, fashion, binge TV, the Royals, etc.).

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

DJ: There are some basic no-no’s that will automatically get you a rejection.

• Pieces that use a sledgehammer to nail a tack.
• Work that is gratuitously offensive.
• Thinly disguised comedy routines.
• Writers who think excretion or genitalia or four-letter words are inherently funny.
• Current political satire, including fake news. 

SQF: What do you look for in the opening paragraph(s)/stanza(s) of a submission?

DJ: Our specialty is brief humour pieces, so the opening is less important than in longer formats. We look for pieces that work as a whole.

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

DJ: Randy Neman’s ‘You’ve got a friend in me’, which sums up my feelings for humour writers around the world. 

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

DJ: Do you write articles on humour?

Yes, I do and you can find most of them on Witcraft’s Substack page.   

I’ve also published a free list of 100+ other magazines that publish humour, as acknowledged by Chill Subs in this piece.

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

Six Questions For Claudio Perinot, Editor, KUDU

KUDU publishes poetry to 40 lines,  short fiction of 500-2,000 words, nonfiction of 1,500-2,500 words, and visual art.  KUDU is an online biannual literary journal devoted to the creative work of  South Africans: resident, expat, and dual citizens are all encouraged to submit. We welcome both unpublished and previously published work by writers of all levels of experience. Any subject. Any form. Read the complete guidelines here. 

SQF: Why did you start this magazine?

Claudio Perinot: Two of my main interests are literature and South Africa, where I was born and raised. Both inspired the project and it began to take shape when, while submitting my own work, I realised that there were only a few avenues available to content from or about South Africa.

In theory, South African writers can submit their work to any of the thousands of journals around the world. However, judging by the scarcity of their work out there, they must often encounter two particular obstacles on their path to publication: the editors’ limited knowledge of, and subsequent lack of interest in, the culture of the country, and the difficulties connected to the language used. The latter is true not only for South African English, whose variations might be seen as imperfections and cause their rejection by journals which follow strict American or British usage, but also, and to a greater degree, for the other official languages of South Africa.

As an editor with South African roots, I can guarantee a deeper understanding of the country, a natural sensibility towards its cultural complexity, and a greater willingness to publish. My goal is to create a small but dedicated outlet for the publication and promotion of South African writing and visual art.

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

CP: I look for knowledge of the subject and of the genre, for thought, for originality, for imagination, for the technique that has been used to combine them into something artistic. I look for evidence of the effort, of the work behind the piece. I want to see the craftsmanship. Then, submissions must have something to say. The subject must be meaningful, have a significance and an appeal capable of resonating with the readers. Ideally, it should, to whatever degree, change the way the readers see the world. It should complete or challenge their knowledge.

Content that is trite or banal will not get through. Careless, flimsy pieces are a waste of time: that of the submitters and mine.

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

CP: When it is clearly unrevised work, with avoidable typos or mistakes. Then, when the submitter does not follow the guidelines. Last but not least, a cold cover letter. I would greatly appreciate a few words about where the submitter found KUDU and why the work was submitted.

SQF: What do you look for in the opening paragraph(s)/stanza(s) of a submission?

CP: A detail that catches the reader’s attention, that sparks curiosity. That keeps the reader reading. Nothing more, nothing less.

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

CP: “Asimbonanga” by Johnny Clegg. Dedicated to Nelson Mandela, it quickly became an unofficial national anthem in the South Africa of the 1980s. It was firmly rooted in its social context, it was an inspiration for many and disapproved by others, it was provocative and stimulated debate, it was censored yet survived, at first glance it was simple but it ran deep, it divided but, because of its masterful artistic blend of music, language and meaning, it could not be ignored and, in the long run, it inevitably united. Art that is relevant and resonates will always stand the test of time. KUDU welcomes submissions of this kind: captivating, meaningful art on any subject and in any form.

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

CP: Why should writers want to submit to KUDU?

Because publication is never useless. Credits are always invaluable additions to a writer’s biography. Secondly, KUDU is a small journal but it aims to build a strong reputation based on a transparent, solid editorial policy and being selected by KUDU, in its own small way, can be seen as a  stepping-stone in the writer’s career. Thirdly, KUDU will voluntarily continue to promote its contributors and their work after they are published to build a more meaningful relationship than the usual hit-and-run submission and publication process. Debut writers will certainly benefit from this support.

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

Six Questions for Grace Black, Founding Editor, Ink In Thirds

Ink In Thirds is a boutique literary magazine established in 2016. Publishing Poetry, Prose, and Photography/Art. The focus is on the emotive, visceral layers of the human condition, bringing artists and writers together in cohesive fluidity. 

“Our only absolute requirement: Make us feel something!” Read the complete guidelines here.

SQF: Why did you start this magazine?

Grace Black: This magazine began as a passion project. In 2014, I ran a weekly poetry prompt challenge called Three Line Thursday as an online contest via Blogspot. It ran for two years with a wonderful group of artists and writers. As that chapter came to a close, I knew I wanted to continue championing talented artists and writers, so I thought, why not start a lit mag? So, in 2016, I did just that. Meh…

Ink In Thirds had much success early on, and TLT's supportive following was the impetus for resurrecting TLT as a weekly inspiration feature on the website of Ink In Thirds Magazine.

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

GB: Our only absolute requirement: Make us feel something! Sad, fine. Tormented, better. Angst, gah. Happy, meh, we’ll take it. Just remember to move us with your words.

Obviously, we want submissions that take the art of writing seriously, work you know someone has taken the time to craft. A typo happens to the best of us, but when I read a submission and forget my editor hat entirely, lose myself bit by bit as I marinate in the language of the submission, I know it’s going straight into the to-be-published box!

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

GB: I’m not a big fan of forced narrative. I love stories that unfold slowly, layer by layer, and deliver a value of surprise near the end. For poetry, it's all about language: usage, flow, and what is left unsaid.

SQF: You like brevity in your writing given the 333 word limit, as well as 100 Word Wednesday, and Three Line Thursday. What drew you to short fiction/poetry?

GB: Ahh… yes! Brevity, my beloved. While I enjoy vivid imagery, emotional depth, and creative language in all writing, I adore the idea that less is more regarding actual word count. Something about the craft of evoking all the senses and creating an entire story or scene with the fewest possible words excites me. I’m not sure exactly when it became a conscious decision I set out to curate. Still, it has evolved and seems particularly relevant given the times we live in currently, with attention spans getting shorter and shorter. Why not pack a punch.

SQF: If you could share a meal with any three authors (dead or alive), who would they be and why?

GB: Don Delillo, the man, can craft a sentence like no other. One sentence, and you can see, touch, taste, and smell the smallest intricacies of the mini worlds DeLillo creates. I’d like to pick his brain and learn to craft a sentence that can transport people the way he does.

Sylvia Plath, hands down. I am tired of the trite, “she’s a novice,” “it’s so cliche,” “schoolgirl nonsense,” I couldn’t care less what stuffy-shirted academics want to pontificate about and their preferred heralding of writers I am not a fan of. Plath makes you feel like you are in the room with her, a fly on the wall, even as sad as it was in the end. It’s no secret (to those who know and follow my personal writing) that I am a big proponent of Mental Health Awareness and abuse survivors. I’d jump at the chance to sit with Plath and dive deep about the cloying darkness that hovers like the unwanted buzzing wasp in Spring and the energy it requires to plaster on smiles day after day when you feel out of place inside your own skin.

Anaïs Nin, where to begin—a sensual woman of remarkable strength and presence who wrote freely and without fear. I first read Henry and June years ago and was transported in a literary vehicle fueled by curiosity. I’d love to share a bottle of champagne and listen to her life story firsthand, the good, the bad, and the ugly. After all, writers, the good ones, are all a little mad.

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

GB: Why submit to Ink In Thirds?

• We are kind
• We are inclusive of all
• We respond to all submissions
• No submission fees
• Fast turnaround time (typically under 5 days)
• We are a full-color Print Mag (also available in digital download)

You can submit once each open reading period. We also encourage those we previously declined to submit again and keep writing. That is the only way to improve your craft: keep at it!

One last PSA: We do this for our love of all things art and writing. We don’t air our petty grievances across SM. We never limit inclusion based on any criteria. And we believe wholeheartedly in kindness. Voices need to be heard and art acknowledged, and we want to help get them out there for more to enjoy!

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

Six Questions for C. E. Hoffman, Editor-in-Chief, Punk Monk Magazine

Intro updated per editor’s request 3/15/2024.

Punk Monk Magazine publishes poetry, flash fiction (micro considered), creative non-fiction, reviews, op-eds, and more!

“We are excited to elevate femme/queer voices, though all (within the realms of moral sanity) are welcome. We're especially interested in a feminine perspective w/ edge- that which our EIC has dubbed "femmepunk" in reference to their own work.” Read the complete guidelines here.

SQF: Why did you start this magazine?

C.E. Hoffman: My motivation has changed over time! Punk Monk began as Visceral Uterus Magazine, launched by me and an internet friend. We were co-EICs, and had no clear vision on what kind of work we wanted to publish. When my pal left the Masthead, I re-invigorated the publication as a strictly feminist, strictly poetic zine. Since rebranding as Punk Monk Magazine, we publish poetry, flash fiction, CNF, music features, and more, and recently have begun accepting review requests! I try to publish things I actually want to read (or wish I’d written!) Above all, I want to cultivate a space for writers like me, who don’t quite belong anywhere, but sure as fuck have something to say.

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

CEH: Lack of pretentiousness. Simplicity. Sincerity.  We like things that are easy to read/relate to.

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

CEH: Pretentiousness. Wordiness. Obvious refusal to read the guidelines/figure out what we’re about. 

SQF: What do you look for in the opening paragraph(s)/stanza(s) of a submission?

CEH: Simple words. Raw emotion. Real life. Femme experiences written by femmes! 

SQF: If  Punk Monk Magazine had a theme song, what would it be and why?

CEH: Rock n Roll by Avril Lavigne. Laugh if you want: “I don’t care about my makeup/I like it better with my jeans all ripped up/don’t know how to keep my mouth shut/you say so what/I don’t care if I’m a misfit/I like it better than that hipster bullshit/I am a motherfucking princess/you still love it” 

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

CEH: I’m content! 

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

Six Questions for Suzanne Craig-Whytock, Editor-in-Chief, DarkWinter Literary Magazine

DarkWinter Literary Magazine publishes short fiction (under 2000 words) and poetry (500 words max) with a twist. “Whether you're emerging or established, we want your weird, your traditional with a twist, your humour, your dark thoughts, or your elation.” Read the complete guidelines here.

SQF: Why did you start this magazine?

Suzanne Craig-Whytock: It's often difficult for emerging writers to get their work published--many literary journals around here only publish a couple of issues each year or once a month, and have limited space. We wanted to create a platform where anyone with a strong story or poem could see their work out there in the world for others to enjoy, despite perhaps not having a resume full of publishing credits. We feature two different writers twice every week (Mondays and Thursdays), so there's lots of space for a wide variety of stories and poems.

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

SC: The top three things we look for are first, an original story. We don't publish fan fiction, or "the true story of" an existing character (unless it's REALLY different), or stories that have already been explored ad nauseum. We're interested in weird and twisty tales, or stories with a strong emotional arc. Second, we're suckers for a punchy ending--we love a story where the last line makes us sit back and say, "Wow." For poetry, we like pieces that aren't so personal/abstract that only the author understands the references; other than that, we publish free verse, rhyme, prose poetry, and so on--again, anything that leaves us with a powerful reaction. Third, clean copy. We're willing to do some editing, but we appreciate it when submissions aren't full of typos and obviously haven't been given a second look before being sent.

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

Our inclusivity statement makes it very clear what we don't publish (no racism, sexism, homophobia, or transphobia), so anything that contravenes that policy would immediately be rejected. We also don't like anything with a lot of gratuitous violence, anything with gratuitous animal cruelty in it, or anything explicitly sexual.

SQF: What do you look for in the opening paragraph(s)/stanza(s) of a submission?

SC: A really strong hook--something that grabs our attention right away and makes us want to engage in the story. For poetry, we look for vivid images or compelling ideas.

SQF: You also host two presses, DarkWinter Press and Baxter House Editions. Please explain how these differ.

DarkWinter Press is our main imprint and we publish new work (poetry collections, short story collections, novels, and novellas) from both emerging and established writers. Baxter House Editions was launched at the beginning of February to support some writer friends whose publisher dissolved and their books were "unpublished". It's our reprint press; that is, Baxter House republishes valuable work that through no fault of their own, are no longer available. Baxter House has reprinted three different publications already and submissions are always open to anyone whose work has gone out of print.

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

SC: A lot of people ask if they have to pay to publish with us and the answer is no. We're a small press but still traditional. We have a Frequently Asked Questions document on our Press submissions page that addresses any concerns a potential submitter may have and explains our processes.

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