“White Enso is seeking original, unpublished short fiction, essays, creative non-fiction and artwork that encapsulates the Japan experience. Send us work that you are excited about—an essay that encapsulates you, a short story that is engaging, artwork that you are proud of, writing that doesn't fit a genre but is screaming to be read.” Read the complete guidelines here.
SQF: Why did you start this magazine?
Linda Gould: I wish there was an easy answer to this question.The Japanese aesthetic has influenced western art since the late 1800s, and I know how living in the country for over 20 years has influenced my own writing. So many people who I’ve spoken to over the years have mentioned how Japan has influenced their work or lives or art, too, and many expat residents have embraced Japanese forms of poetry and art techniques. It is so varied that I wanted to create a single journal that highlights the many ways that the Japan experience—from a tourist on a short visit to a resident-expat to a native Japanese—influences people's lives and/or their creativity.
SQF: What are the top three things you look for in a submission and why?
LG: I wish there was an easy answer to this question, too, lol. While I AM looking for quality work of any sort, I try very hard not to accept or reject something based on some pre-determined criteria or name recognition.
White Enso highlights good, solid work from anyone in any genre or art form. So, I see literary work that is mind-blowing and thoughtful essays about an interesting experience a tourist had and everything in between. Having said that, millions of people DO visit Japan, so I’m looking for a perspective or a work of art that is different than something anyone can write or create.
For poetry and prose, I like work that is carefully constructed. It doesn’t matter how good your story, if it is not well constructed and edited, it is unlikely to be accepted. I'm not asking for everyone to be the next literary art sensation, but if someone is submitting their work to be published (and paid, even if a nominal fee) then they should make sure their work doesn’t need a lot of editing.
For visual work, as long as there is a connection to Japan, which is really wide open for interpretation, I’d love to see it.
SQF: What most often turns you off to a submission?
LG: If I read a submission and there is no connection to Japan, it literally makes me angry. Who is this person to waste my time because they couldn’t be bothered to spend 20 seconds to determine the focus of the journal? Or work that is obviously not about Japan except for a character’s name or a city name. Grrrrrrr!
Another automatic turn off is work that is sloppy—holes in the plot, unclear scenes, dull dialogue that either doesn’t move the story forward or is meant as exposition, for example.
SQF: What do you look for in the opening paragraph(s)/stanza(s) of a submission?
LG: I hope I consider a piece for what it is and not for what I am looking for. I know some editors want a hook straight away, or an opening paragraph that clearly sets up the main characters, time, and place. I’m ok with something that focuses on atmosphere or takes a little more time getting to the point (but only a little).
SQF: Many editors list erotica, or sex for sex sake, as hard sells. What are hard sells for your publication?
LG: Anything touristy. There are a lot of “I did this on my trip to Kyoto” or "I was impressed by this Japanese cultural experience” submissions. For visual art, if I see another photo of geta on a stone step in front of a wooden door, I think my eyes will fall out.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?
LG: Can I say two things?
First, what does White Enso mean? An enso is a black circle drawn during one full breath. It is drawn with a calligraphy brush and sumi (charcoal ink) on white paper, and it simultaneously represents what is and what is not; the mind, body, soul, and essence of the individual drawing it at that moment in time. It is such a simple symbol packed with meaning and potential. I picked White Enso as the title for this journal because true artists of any type think outside the box and push accepted ideas and techniques.
Second, a lot of people email me asking me what I’m looking for. White Enso is open to any kind of art—literary, visual, crafts, fashion design, interior design, dance…—and it is that variety which makes the journal interesting, in my opinion. Whatever someone's talent, skill, interest, hobby, if it is influenced in some way by something Japanese, then it is worth submitting. What’s the worst that could happen? That I would say that I really enjoyed seeing/reading it, but I can’t use it for the journal? Artists want their work to be seen, so that makes submitting worth the effort.
Thank you, Linda. We all appreciate you taking time from your busy schedule to participate in this project.
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