SQF: Why did you start this magazine?
David Olsen: Because I wanted a literary magazine that celebrated art and artists regardless of genre.
Too many magazines are "highbrow" and only publish “literary” fiction. I wanted a multi-media journal that could connect with a wider audience by featuring work from many different genres and mediums. I also wanted the visual and interactive component to be showcased. We're growing and I hope to not only have a print version out soon, but also to have all of our stories downloadable as podcasts.
SQF: What are the top three things you look for in a submission and why?
DO: Quality of writing, first and foremost. I like pieces with a sense of adventure, or pieces that take you somewhere new, as great writing should. Pieces are generally workshopped multiple times and are fussed over. Every sentence, every scene, and every word. This is, however, a highly subjective business. So sometimes the best course of action is to cast a wide net.
SQF: What most often turns you off to a submission?
DO: Careless writing. Or writing that is clearly a thinly veiled political message. Writing should be about the characters, not the authors views.
SQF: What do you look for in the opening paragraph(s)/stanza(s) of a submission?
DO: The opening paragraph needs to draw a reader in and invest them in the story. As quickly as you can hook a reader, the better.
SQF: Many editors list erotica, or sex for sex sake, as hard sells. What are hard sells for your publication?
DO: Everything should be a derivative of the characters. They are living, breathing people with wants and needs. Telling a story is less about what happens, then it is about who it happens to, and how they react. If characters have sex, why is that important to this particular character?
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
DO: I just think a lot of writers get frustrated when their writing is rejected repeatedly. I think it’s important to remember that the greatest writers in history were rejected all the time. If a story isn’t finding a home, let it set for a few months or years, and keep coming back to it. Often the reason the story came to you, and your urgency in telling it isn’t all that obvious. Sometimes it needs to percolate, and eventually the story will reveal itself. So, be patient, work on your craft, and keep writing. You have to get to 10K hours to be your best version, so read The Outliers and keep on keeping on.
Thank you, David. We all appreciate your taking time from your busy schedule to participate in this project.
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