Six Questions for Clarabelle Fields, Editor, Carmina Magazine

Carmina Magazine publishes prose under 3,000 words, poetry, and photography. “Simply put, we are looking for creative works that are inspired by some aspect of classical studies and that incorporate and/or allude to classical themes, places, characters, and stories in some way, shape, or form. “ Read the complete guidelines here.

SQF: Why did you start this magazine?


Clarabelle Fields: Classics and creative writing have long been two serious passions/interests of mine, and I have always loved seeing all the beautiful ways various authors and artists have been inspired by ideas drawn from classical literature. I wanted to offer a platform where modern-day authors could continue to do what so many other authors have done prior: using classics to create something new, imaginative, and beautiful. I love being able to see both of my favorite things (classics and writing) being combined into one project.




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



CF: 1. Meaningful engagement with/usage of classics in the writing. I’d like authors to demonstrate that they have a relatively good understanding of the classical material that they’re using in their work. This doesn’t mean that they need to know every nitty-gritty, pedantic detail of the specifics of a mythological narrative or of a particular period in history. I just want to get a sense that the usage of classics in the writing serves a thought-out purpose that seeks to convey a message or meaning to readers. Just as an example, let’s say you want to write a story with characters that are named after figures from classical myth. These characters don’t even need to be anything like their original Greco-Roman counterparts. You could completely reimagine them and write your own story featuring these completely new characters using those ancient names. There just needs to be a deeper meaning behind why you have chosen those particular names for them, something that shows that you put thought and purpose into how you blended classics with your writing.

2. Original content. Even though I’m looking for work that draws from myths, stories, and histories that already exist, I like for submissions to always contain enough new content—ideas, plot twists, additional storylines, etc—that they are original and unique unto themselves. The work, though inspired by classics, still needs to be an original creation that adds something to the existing narrative. For example, if you want to submit a retelling of a myth or a reworking of an ancient storyline, you need to add something creative enough that it makes the work definitively your own and offers a new perspective on the topic.

3. A compelling narrative. As I also mention in response to another question below, I look for submissions that can reel me in and hold my attention. I like submissions that have a strong sense of purpose and direction and that are held together by a good storyline.



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



CF: One thing that produces a very fast rejection is if the submission clearly does not follow the submission guidelines. If it appears that the author didn’t take the time to read through the submission guidelines page before sending their work in, I’m left with a sour taste in my mouth. The submission guidelines are there for a reason—to make things easier for both me and the authors who are sending me their work. I hate having to turn down a work simply because it doesn’t fit what the magazine is looking for. The work itself might be perfectly fine, but if it doesn’t fit with the guidelines, I can’t publish it, regardless of its merit. I will also get turned off by seeing classical themes/names/places just being peppered into a story to make it “classical” without there being a deeper meaning or understanding behind their usage.  




SQF: What do you look for in the opening paragraphs/stanzas of a submission?


CF: The first thing I look for is whether the piece fits with Carmina Magazine’s focus or not. Does it relate to classics in a meaningful way? Is the author offering a new perspective on ancient themes and stories? Have they successfully integrated these ideas in their work? These are the initial questions that I ask myself as I start to read a submission. Another thing I look for is whether the submission has a compelling narrative that catches my attention (as mentioned previously). If the piece doesn’t reel me in by the first paragraph or first few lines, I’ll be less inclined to select it for publication in the end. It’s great if the piece—especially the opening of the piece—contains some kind of “hook” to grab readers’ attention. This could be an enticing bit of dialogue, strong imagery to draw the reader into the story’s world, an action scene…something punchy or sharp or breathtaking enough to really catch you as you’re reading. 




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



CF: I don’t know if the magazine has one theme song in particular, but there definitely are albums and musicians that complement its overall theme/purpose. I would point readers to the work of a modern Greek band called Daemonia Nymphe. Just as Carmina Magazine seeks to combine classics with modern creativity, this band draws from ancient Greek music, mythology, and language to create their own meaningful, classics-inspired music, and that is similar to the interdisciplinary creativity that Carmina Magazine is all about.  




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

CF: “The submission guidelines page says you accept work of all genres. Is this true? Are there genres you prefer for submissions?”

Carmina Magazine does accept work of all genres! As long as the work integrates classics in a meaningful way, I am more than happy to consider it for publication. There aren’t specific genres that I strongly prefer to receive. People very commonly submit historical fiction, fantasy, and poetry.

One thing that I do personally love, though, and something that I hope to incorporate more in the magazine is genre-bending/genre-blending fiction. I love seeing classics being used in genres and forms of creative expression that we might not traditionally associate with it. (E.g. James Joyce’s Ulysses or the Coen brothers’ O Brother, Where Art Thou?) I love it when the author isn’t afraid to push the boundaries of genres and traditional expectations and even goes out on a “literary limb” to explore ancient themes in radically new ways. The possibilities are endless: a fusion of classical myth and Stephen King-esque horror, classics-themed haiku, etc., etc. That said, there’s absolutely nothing wrong with submitting work that doesn’t seek to do this. I’m still happy to accept work that doesn’t genre-bend/blend. Genre-bending/blending is just something that I personally really enjoy reading and I love seeing how creative and diverse authors’ work can be when they do this.

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