Sci Phi Journal publishes fiction that explores a philosophical idea or has a philosophical hook, and nonfiction with a general philosophical discussion that used science fiction as a launching point. Word count is 100-5000. Read the complete guidelines here.
SQF: Why did you start this magazine?
Jason Rennie: Sci Phi Journal was started as a spin off of the podcast I used to host, The Sci Phi Show. The aim was to explore the intersection of science fiction and philosophy and the way science fiction made the exploration of philosophical ideas uniquely possible. The goal was, and still is, to tell interesting stories that make the reader think about questions of life the universe and everything.
SQF: What are the top three things you look for in a submission and why?
JR: This is a difficult question. The most important thing in a submission is the "big idea" that is being explored in a story. The magazine centers on questions of philosophy explored through science fiction. A "big idea" is essential to any story I publish, and the food for thought sections we include at the end of stories, and that are part of the submission, help to make it clear what that is. Beyond that there is no "top thing" I look for apart from an engaging story. Perhaps this is the wrong way to think about it. I evaluate a story, after the "big idea,” on quality. I normally evaluate a story, after the first readers have had a look, by putting on some music and reading the story on the train to work. This provides some distraction and so if the story keeps my interest and my mind doesn't wander then I know I have something that is drawing me in. If I get to the end and there isn't a problem with fit or excessive language then the story goes in the "contact yes" pile. I will usually give stories a second go on a later date if it doesn't pass on the first read in case I was feeling off that day. I suppose it would be better if I had some careful mechanism for judging a stories quality and measuring it, but the best measure I have found is "Do I keep reading it when there are other things that want my attention," so that is what I go with.
SQF: What most often turns you off to a submission?
JR: Stories that keep my attention are what matters, most other things can be forgiven. Anything that throws me out of a story will be a problem, so spelling mistakes and other errors can cause that. This won’t sink a great story but it can sink a good one. Sci Phi Journal's first readers are more sensitive to those sorts of errors than I am.
Beyond that, I don't think there is too much that will turn me off to a submission. As the magazine specializes in philosophical science fiction a story with glaring logical mistakes is not going to make it, but there is little else that would sink a story in terms of content. I did write a short post for http://sciphijournal.com trying to outline this. I'm not sure how well I succeeded. I'm an orthodox Christian and tend to lean Libertarian in my politics, so stories that are shallow blasphemy and that extol the virtues of communism as a panacea for humanity aren't likely to be well received. That being said, engaging stories that explore a big idea are what the magazine looks for, everything else is secondary to that. I don't have to agree with everything in stories I publish, and I certainly haven't in the past, and I've rejected stories that I have agreed with because they didn't draw me in.
SQF: Do you provide comments when you reject a submission?
JR: The first readers the magazine has are mostly writers so when they provide feedback on a story I will often try to pass that on. I will offer some comments if I think they are helpful, but I am a reader of fiction not a writer of it. I buy the stories I like and reject the ones I don't. I trust the feedback the first readers offer and will offer my own if I have anything to contribute. A few times the first readers have said "No, but if these things are fixed it would be a yes," and I will always pass those onto an author and ask if they would like to resubmit afterwards.
SQF: Based on your experience as an editor, what have you learned about writing?
JR: I've learned that I am right to stick to the role of editor/reader and not attempt this craft myself. Perhaps I am unusual not being a fiction writer myself. It is humbling to read the works of some great writers, and I am gratified that I am able to play some small part in getting their stories out to an audience. It is a lot of work but very rewarding. I don't think I expected it to feel this way.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
JR: None I can think of.
Thank you, Jason. We all appreciate you taking time from your busy schedule to participate in this project.
Friday, October 30, 2015
Friday, October 23, 2015
Six Questions for LeeAnn Rhoden and A. Marie Silver, Editors, Pilcrow & Dagger
Pilcrow and Dagger publishes short stories and essays to 5000 words, and poetry. Issues are themed but we will accept submissions that are unrelated to the theme.
(ceased publication)
SQF: Why did you start this magazine?
P&D: We wanted to do something that would help support writers. Our magazine is one small way we do that. The other way is through our blog where we provide free resources to help writers with their projects.
SQF: What are the top three things you look for in a submission and why?
P&D:
SQF: What most often turns you off to a submission?
P&D: Poor editing and an ending that doesn’t fit with the story. And failure to follow submission guidelines.
SQF: Do you provide comments when you reject a submission?
P&D: No, however we do notify all the authors regarding the status of their submissions through email.
SQF: If Pilcrow & Dagger had a theme song, what would it be and why?
P&D: Marie likes The Fighter by Gym Class Heroes. The publishing industry can be a real beast for writers trying to get their stories read and develop an audience. This song talks about never giving up no matter what anyone else thinks of you. LeeAnn and I are not only editors but also writers trying to get our stories read. We’re never going to give up no matter how many times we’re rejected and we hope writers everywhere keep fighting for their audience.
LeeAnn likes My Way by Frank Sinatra because she believes if you want something done right you have to do it yourself no matter what the naysayers think. Which is basically the same thing; LeeAnn is just old.
SQF: What is the one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
P&D: The question that could have been asked is about marketing - How do you market the magazine, or a novel, or a short story? How does your product, whatever that product may be, get noticed?
The answer is slowly and with lots of sweat. Writing and publishing is not the way to go if you don't go into it with passion and patience and a work ethic the size of Mt. Everest.
Thank you, LeeAnn and Marie. We all appreciate you taking time from your busy schedule to participate in this project.
SQF: Why did you start this magazine?
P&D: We wanted to do something that would help support writers. Our magazine is one small way we do that. The other way is through our blog where we provide free resources to help writers with their projects.
SQF: What are the top three things you look for in a submission and why?
P&D:
- Compelling story or poem first.
- Theme related second.
- Well written and edited and following the submission guidelines.
SQF: What most often turns you off to a submission?
P&D: Poor editing and an ending that doesn’t fit with the story. And failure to follow submission guidelines.
SQF: Do you provide comments when you reject a submission?
P&D: No, however we do notify all the authors regarding the status of their submissions through email.
SQF: If Pilcrow & Dagger had a theme song, what would it be and why?
P&D: Marie likes The Fighter by Gym Class Heroes. The publishing industry can be a real beast for writers trying to get their stories read and develop an audience. This song talks about never giving up no matter what anyone else thinks of you. LeeAnn and I are not only editors but also writers trying to get our stories read. We’re never going to give up no matter how many times we’re rejected and we hope writers everywhere keep fighting for their audience.
LeeAnn likes My Way by Frank Sinatra because she believes if you want something done right you have to do it yourself no matter what the naysayers think. Which is basically the same thing; LeeAnn is just old.
SQF: What is the one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
P&D: The question that could have been asked is about marketing - How do you market the magazine, or a novel, or a short story? How does your product, whatever that product may be, get noticed?
The answer is slowly and with lots of sweat. Writing and publishing is not the way to go if you don't go into it with passion and patience and a work ethic the size of Mt. Everest.
Thank you, LeeAnn and Marie. We all appreciate you taking time from your busy schedule to participate in this project.
Friday, October 16, 2015
Six Questions for Kelly Kusumoto, Editor, Cicatrix Publishing
Cicatrix Publishing publishes literary flash fiction, micro fiction, poetry and memoirs from 100 to 2,500 words.
SQF: Why did you start this magazine?
Kelly Kusumoto: I was inspired by the site, The Story Shack, which published my first short story, Tinderbox. It is edited by Martin Hooijmans who has done a fantastic job. I’ve always wanted to edit a site of my own but after being exposed to Martin’s site, it inspired me to do something similar but with my style, aesthetic, and literary taste.
Essentially, I find an artist and a writer and I pair them up, similar to a singer and a pianist. Whoever inspires the other is the way it goes. If an illustrator’s art inspires a writer to write something, so be it. If a writer inspires a photographer to go out and shoot, there you go. I just give an avenue for words and art to mingle and create something special.
SQF: What are the top three things you look for in a submission and why?
KK:
SQF: What most often turns you off to a submission and why?
KK: Vampires and werewolves. Dragons. Erotica. Campy, pulp, genre-based pop. I’ll take Coltrane over Sinatra, The Kinks over The Beatles, Aimee Man over Madonna.
It’s hard to describe but there’s something about a story without the need for distractions. I’d take a misspelled, grammatically incorrect piece of literary fiction over a perfectly technical wizards and warriors piece any time.
SQF: Do you provide comments when you reject a submission?
KK: I try to. But it is hard, especially when I know the writer. I try to be as constructive as I can. I speak for the integrity of the magazine. I am a team player, and I do what’s best for the team. But I hate burning bridges so I try to give some type of reason. I really can’t stand some of these other sites where everything is automatic. I understand the need, especially when it comes to volume, still, give me a friggin' reason as to why you are rejecting my piece. It’s the least you can do.
SQF: If Cicatrix Publishing had a theme song, what would it be and why?
KK: That’s a great question! I imagine it would be something I would listen to while reading a submission. Or something I would score to one of the publications. Most likely it would be something without lyrics. Maybe Chopin’s Nocturne Op. 9 No. 2, or Beethoven’s Piano Sonata No. 21 in C, Op.53. But then after a while I’d feel too bourgeoisie, and I’d want to change it up.
Follow it with Seven Steps to Heaven by Miles Davis. But then I’d feel too hepcat, so I’d probably whittle it down to Superfreak by Rick James or Know Your Enemy by Rage Against the Machine.
If you can’t tell by now, I don’t take myself seriously, so my final answer is Keep Ya Head Up by 2Pac.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
KK: Hmm, how about: Would I like to do this full time, for a living?
I would answer, yes. Absolutely. I have a background in print and graphic design. I have been writing (albeit semi-professionally) for over 25 years. I love having the opportunity to showcase hidden talent.I love looking for and finding that special piece or that unheard voice. I also love the concept of joining art with literature. I feed off of the inspiration shared and created by two artists. If I could sit at home and search for great writers and artists and showcase their work, it would really be a dream come true.
Thank you, Kelly. We all appreciate you taking time from your busy schedule to participate in this project.
[ceased publication]
SQF: Why did you start this magazine?
Kelly Kusumoto: I was inspired by the site, The Story Shack, which published my first short story, Tinderbox. It is edited by Martin Hooijmans who has done a fantastic job. I’ve always wanted to edit a site of my own but after being exposed to Martin’s site, it inspired me to do something similar but with my style, aesthetic, and literary taste.
Essentially, I find an artist and a writer and I pair them up, similar to a singer and a pianist. Whoever inspires the other is the way it goes. If an illustrator’s art inspires a writer to write something, so be it. If a writer inspires a photographer to go out and shoot, there you go. I just give an avenue for words and art to mingle and create something special.
SQF: What are the top three things you look for in a submission and why?
KK:
- Quality. I don’t need big words. I actually don’t like them unless they are necessary. I look for timeless pieces immune to trends. Literary works, basically.
- Originality. I’ve seen a lot of things. So when I see something I haven’t before, I gravitate towards that.
- Irony. I love irony. I think it’s a great tool to have and use. Also sarcasm. And if a piece uses both, it’s like chocolate cake and ice cream, irresistible.
SQF: What most often turns you off to a submission and why?
KK: Vampires and werewolves. Dragons. Erotica. Campy, pulp, genre-based pop. I’ll take Coltrane over Sinatra, The Kinks over The Beatles, Aimee Man over Madonna.
It’s hard to describe but there’s something about a story without the need for distractions. I’d take a misspelled, grammatically incorrect piece of literary fiction over a perfectly technical wizards and warriors piece any time.
SQF: Do you provide comments when you reject a submission?
KK: I try to. But it is hard, especially when I know the writer. I try to be as constructive as I can. I speak for the integrity of the magazine. I am a team player, and I do what’s best for the team. But I hate burning bridges so I try to give some type of reason. I really can’t stand some of these other sites where everything is automatic. I understand the need, especially when it comes to volume, still, give me a friggin' reason as to why you are rejecting my piece. It’s the least you can do.
SQF: If Cicatrix Publishing had a theme song, what would it be and why?
KK: That’s a great question! I imagine it would be something I would listen to while reading a submission. Or something I would score to one of the publications. Most likely it would be something without lyrics. Maybe Chopin’s Nocturne Op. 9 No. 2, or Beethoven’s Piano Sonata No. 21 in C, Op.53. But then after a while I’d feel too bourgeoisie, and I’d want to change it up.
Follow it with Seven Steps to Heaven by Miles Davis. But then I’d feel too hepcat, so I’d probably whittle it down to Superfreak by Rick James or Know Your Enemy by Rage Against the Machine.
If you can’t tell by now, I don’t take myself seriously, so my final answer is Keep Ya Head Up by 2Pac.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
KK: Hmm, how about: Would I like to do this full time, for a living?
I would answer, yes. Absolutely. I have a background in print and graphic design. I have been writing (albeit semi-professionally) for over 25 years. I love having the opportunity to showcase hidden talent.I love looking for and finding that special piece or that unheard voice. I also love the concept of joining art with literature. I feed off of the inspiration shared and created by two artists. If I could sit at home and search for great writers and artists and showcase their work, it would really be a dream come true.
Thank you, Kelly. We all appreciate you taking time from your busy schedule to participate in this project.
Friday, October 9, 2015
Six Questions for Brian Michael Barbeito, Editor, Bougainvillea Road
Bougainvillea Road publishes writing to 2000 words that is eclectic, alive, and intrepid.
(ceased publication)
SQF: Why did you start this magazine?
Brian Michael Barbeito: Bougainvillea Road exists in order to feature writing that is unique and daring. I like the entire lit mag idea and their atmosphere and aesthetic. Though lit mags are obviously quite numerous, I don’t think there can be too many venues out there. As a poet and writer, I have had pieces accepted to a fine home after having them rejected elsewhere. Maybe Bougainvillea Road can be that home for someone else’s piece. Also, I have run the circuit of being a submitter, and worked with many editors. Since I am familiar with the neighborhood, I am hoping to be a good guide and curator.
SQF: What are the top three things you look for in a submission and why?
BMB: Firstly, that the piece feels energetic in some way and has some verve and heart of some sort. That is hard to describe but it is there living in the words and against all logic and reason, somewhere around the words.The second trait that is looked for is uniqueness. We like quirky, idiosyncratic, daring. Whatever type of piece it is, if it has this unique vision and/or heart, the third thing to look for is whether it is crafted well. This does not mean orthodoxy or traditional though we don’t eschew those things. It means that the writer in the given instance succeeded in executing his or her plan and that the piece we are looking at really has come to some kind of fruition and has a confidence in itself.
SQF: What most often turns you off to a submission?
BMB: Too much extra information about the submission, or too much going on in the piece for the piece’s own good. Some of these include quotes, sub-headings, several italics. Short writing pieces, though there is exception to most rules, usually don’t merit chapters, sub-headings, directories, and the like. It’s better to present the piece simply as possible and let it speak for itself one way or another.
SQF: Are you interested in publishing fiction only, or will you consider creative nonfiction and other forms?
BMB: We publish fiction, creative non-fiction, essays, memoir, prose poems, hybrids, flash, micro and mini, short stories, vignettes, plays, poetry, visual art. BRLM will accept and consider for publication excerpts of novels, novellas, and novelettes as long as these pieces can stand alone. We do not publish book, film, music, or art reviews at this time.
SQF: What magazines/zines do you read regularly?
BMB: CV2, Catch and Release- The Columbia Journal of Arts and Literature, Vagabond City, Literary Orphans, Cicatrix, Contraposition. Many more.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
BMB: Why should a writer submit to Bougainvillea Road? The answer would be that Bougainvillea Road cares about the writers and presenting, archiving, and promoting their work the best we can at the site and also through social media platforms. BRLM is always one hundred percent anti-oppression and equality based. Writers retain copyright to their own work. At Bougainvillea Road you will be in good company among an eclectic and valorous bunch of creative types who are willing to stretch the limits of their craft and do it well in order to get their vision across.
Thank you, Brian. We all appreciate you taking time from your busy schedule to participate in this project.
(ceased publication)
SQF: Why did you start this magazine?
Brian Michael Barbeito: Bougainvillea Road exists in order to feature writing that is unique and daring. I like the entire lit mag idea and their atmosphere and aesthetic. Though lit mags are obviously quite numerous, I don’t think there can be too many venues out there. As a poet and writer, I have had pieces accepted to a fine home after having them rejected elsewhere. Maybe Bougainvillea Road can be that home for someone else’s piece. Also, I have run the circuit of being a submitter, and worked with many editors. Since I am familiar with the neighborhood, I am hoping to be a good guide and curator.
SQF: What are the top three things you look for in a submission and why?
BMB: Firstly, that the piece feels energetic in some way and has some verve and heart of some sort. That is hard to describe but it is there living in the words and against all logic and reason, somewhere around the words.The second trait that is looked for is uniqueness. We like quirky, idiosyncratic, daring. Whatever type of piece it is, if it has this unique vision and/or heart, the third thing to look for is whether it is crafted well. This does not mean orthodoxy or traditional though we don’t eschew those things. It means that the writer in the given instance succeeded in executing his or her plan and that the piece we are looking at really has come to some kind of fruition and has a confidence in itself.
SQF: What most often turns you off to a submission?
BMB: Too much extra information about the submission, or too much going on in the piece for the piece’s own good. Some of these include quotes, sub-headings, several italics. Short writing pieces, though there is exception to most rules, usually don’t merit chapters, sub-headings, directories, and the like. It’s better to present the piece simply as possible and let it speak for itself one way or another.
SQF: Are you interested in publishing fiction only, or will you consider creative nonfiction and other forms?
BMB: We publish fiction, creative non-fiction, essays, memoir, prose poems, hybrids, flash, micro and mini, short stories, vignettes, plays, poetry, visual art. BRLM will accept and consider for publication excerpts of novels, novellas, and novelettes as long as these pieces can stand alone. We do not publish book, film, music, or art reviews at this time.
SQF: What magazines/zines do you read regularly?
BMB: CV2, Catch and Release- The Columbia Journal of Arts and Literature, Vagabond City, Literary Orphans, Cicatrix, Contraposition. Many more.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
BMB: Why should a writer submit to Bougainvillea Road? The answer would be that Bougainvillea Road cares about the writers and presenting, archiving, and promoting their work the best we can at the site and also through social media platforms. BRLM is always one hundred percent anti-oppression and equality based. Writers retain copyright to their own work. At Bougainvillea Road you will be in good company among an eclectic and valorous bunch of creative types who are willing to stretch the limits of their craft and do it well in order to get their vision across.
Thank you, Brian. We all appreciate you taking time from your busy schedule to participate in this project.
Friday, October 2, 2015
Six Questions For Casey Brown, Executive Editor, Strangelet
Strangelet is a journal of speculative fiction that publishes fiction, poetry, nonfiction, graphic stories/comics, and artwork.
(Ceased publication)
SQF: Why did you start this magazine?
Casey Brown: Back in 2012, several grad students in Emerson's MA Publishing & Writing program, myself included, attended the AWP conference in Chicago. One of the panels that I attended was titled “Beyond Pulp—The Futuristic and Fantastic as Literary Fiction.” During this panel Matt Williamson, one of the panelists and editor of the fantastic annual Unstuck (now defunct, alas), impressed upon us the lack of journals which catered to the well-crafted, yet bizarre, fantastical, magical, speculative, or just plain weird. Unstuck, he said, was receiving far more publishable stories than it could handle. Matt practically begged the audience to start literary genre journals. A huge fan of smart, weird flash and short fiction, I then pitched the idea of a new literary genre rag to several of my grad student friends; luckily, they agreed that it was a fantastic idea. The journal would have two purposes: one to support new and emerging genre authors by providing a venue for their publication; and it would serve as an outlet to allow us to use the skills and passions we each had for publishing that were not otherwise being used in our day-to-day jobs.
SQF: What are the top three things you look for in a submission and why?
CB: I personally look for uniqueness of concept, show-don't-tell, well-crafted descriptions of characters and scene, and drama (tension) that brings the characters to life. Not necessarily in that order. Sorry, I know those are four things instead of three but those are the four things I find to be most important. I'm continually blown away by the unique stories that get past our screeners and advisory editors and end up in my virtual pile. A pet peeve of mine is show-don't-tell; I want to be immersed in the world the story is set in. Regarding character and scene descriptions, I do feel like this is a neglected area of short and flash fiction; so many authors have a great concept for a short story but they shoehorn it into being flash—by that I mean they try to trim it down to be so precisely about a single moment in a character's life that they don't tell us anything else about that character. This can be very powerful in flash but it is, in my opinion, overdone in short fiction. And finally, regarding drama, I want to see that characters' actions have consequences; that they learn, grow, fail, die, evolve, regret, succeed, and/or fuck up.
SQF: What most often turns you off to a submission?
CB: For fiction: Scene without drama. Drama without scene. Too much exposition. However, it's pretty rare for a story to reach me that I reject without asking for a revised submission. When it comes to nonfiction, I want proper graduate-level essays, not personal anecdotes.
SQF: Do you provide comments when you reject a submission?
CB: Sometimes. If a story has passed our initial screeners and was read by our advisory editor(s), and if it's rejected at that stage, I might, depending on the editor's feedback, share that commentary with the author (especially if one or both of the editors thought there was something to the piece but that it would require too much revising to be a good fit for us). I will also sometimes share my thoughts if a piece gets to me and I reject it. Hopefully our feedback proves useful and helps the author find a home for his piece (or she revises it and re-submits it to us).
SQF: To date, you’ve published two issues, What has surprised you the most about editing a magazine?
CB: Two things: 1) the quality of some of the work we have received despite the fact that we are so new and small, 2) how hard it is to get the word out about what we are doing.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
CB: Hahaha, that's cheating! I guess the question would be: What's the future hold for Strangelet? And the answer would be: I hope I don't know!
Thank you, Casey. We all appreciate you taking time from your busy schedule to participate in this project.
(Ceased publication)
SQF: Why did you start this magazine?
Casey Brown: Back in 2012, several grad students in Emerson's MA Publishing & Writing program, myself included, attended the AWP conference in Chicago. One of the panels that I attended was titled “Beyond Pulp—The Futuristic and Fantastic as Literary Fiction.” During this panel Matt Williamson, one of the panelists and editor of the fantastic annual Unstuck (now defunct, alas), impressed upon us the lack of journals which catered to the well-crafted, yet bizarre, fantastical, magical, speculative, or just plain weird. Unstuck, he said, was receiving far more publishable stories than it could handle. Matt practically begged the audience to start literary genre journals. A huge fan of smart, weird flash and short fiction, I then pitched the idea of a new literary genre rag to several of my grad student friends; luckily, they agreed that it was a fantastic idea. The journal would have two purposes: one to support new and emerging genre authors by providing a venue for their publication; and it would serve as an outlet to allow us to use the skills and passions we each had for publishing that were not otherwise being used in our day-to-day jobs.
SQF: What are the top three things you look for in a submission and why?
CB: I personally look for uniqueness of concept, show-don't-tell, well-crafted descriptions of characters and scene, and drama (tension) that brings the characters to life. Not necessarily in that order. Sorry, I know those are four things instead of three but those are the four things I find to be most important. I'm continually blown away by the unique stories that get past our screeners and advisory editors and end up in my virtual pile. A pet peeve of mine is show-don't-tell; I want to be immersed in the world the story is set in. Regarding character and scene descriptions, I do feel like this is a neglected area of short and flash fiction; so many authors have a great concept for a short story but they shoehorn it into being flash—by that I mean they try to trim it down to be so precisely about a single moment in a character's life that they don't tell us anything else about that character. This can be very powerful in flash but it is, in my opinion, overdone in short fiction. And finally, regarding drama, I want to see that characters' actions have consequences; that they learn, grow, fail, die, evolve, regret, succeed, and/or fuck up.
SQF: What most often turns you off to a submission?
CB: For fiction: Scene without drama. Drama without scene. Too much exposition. However, it's pretty rare for a story to reach me that I reject without asking for a revised submission. When it comes to nonfiction, I want proper graduate-level essays, not personal anecdotes.
SQF: Do you provide comments when you reject a submission?
CB: Sometimes. If a story has passed our initial screeners and was read by our advisory editor(s), and if it's rejected at that stage, I might, depending on the editor's feedback, share that commentary with the author (especially if one or both of the editors thought there was something to the piece but that it would require too much revising to be a good fit for us). I will also sometimes share my thoughts if a piece gets to me and I reject it. Hopefully our feedback proves useful and helps the author find a home for his piece (or she revises it and re-submits it to us).
SQF: To date, you’ve published two issues, What has surprised you the most about editing a magazine?
CB: Two things: 1) the quality of some of the work we have received despite the fact that we are so new and small, 2) how hard it is to get the word out about what we are doing.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
CB: Hahaha, that's cheating! I guess the question would be: What's the future hold for Strangelet? And the answer would be: I hope I don't know!
Thank you, Casey. We all appreciate you taking time from your busy schedule to participate in this project.
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