Six Questions for Patricia Caspers, Editor-in-Chief, West Trestle Review

West Trestle Review publishes fiction to 3,000 words, poetry, and art from authors who self-identify as women or as non-binary. Read the complete guidelines here.

SQF: Why did you start this magazine? 

 

Patricia Caspers: To answer this question, I'll paraphrase from my most recent editor's note: In 2014 I got angry, and in my anger I created West Trestle Review. I was angry because I'd read The Count by VIDA—an organization, you probably know, that counts how many men, women and nonbinary writers are published in prominent literary outlets each year—and like so many others I saw that the literary landscape was unbalanced. Unbalanced like one side of a teeter totter was a Mount Everest of (mostly white) men and on the other side was an anthill of (mostly white) women. In response, West Trestle publishes art, fiction, and poetry by women and non-binary folx with a strong focus on intersectionality.  

 

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

PC:

1. Writing that's about a topic I've never considered--or that has a new take on an old theme

2. Writing that doesn't lean heavily on adjectives or use common American idioms or turns of phrase--unless it's purposeful. 

3. I've noticed that a lot of writers--including myself--want to put a tidy bow on the end of a poem or a story, and I like to read pieces that let the imagery do the work, to leave the bow untied or even unraveled. 

 

Why? I'm fascinated with the magic of language, and I want that magic to shine through every issue. 

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

 

PC: I'm a writer, so I know it's frustrating to have to tinker with each submission to meet the various fiddly guidelines. Because of this, I would never reject someone's work for not following the guidelines; however, my brain can't help but give submitters a little gold star when they have followed the guidelines. I really appreciate when the writer/artist says hello and mentions how they found us and what they like about the journal. I know some editors want only the most necessary information, but I appreciate a little bit more.

I won't say we never would, but I don't think we have yet published a submission that contained only one poem. I'm also not a fan of one-word titles. 

 

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

 

PC: I appreciate a strong image, something that yanks me by my belly button and doesn't let go. I appreciate non-linear pieces. I want to feel intrigued by the voice or the character, like they've got a secret, and I'm going to stick around to find out what it is.  

 

SQF: Many editors list erotica, or sex for sex sake, as hard sells. What are hard sells for your publication?

 

PC: A poem or story that includes violence, toxic masculinity, misogyny, body shaming, homophobia, ableism, or racism needs to open up a conversation about those issues, create awareness rather than glorify; otherwise it's a pass. 

We'd be hesitant to publish a piece about a culture by a writer who is outside of that culture. It's important to us to prioritize the voices of the writers who represent their communities. 

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

PC: One question all literary magazines might be asked: How do you create equity in your journal?

 

My answer:  It's a work-in-progress, but I try to make sure we have a diverse masthead. We offer free submissions and a reprint feature for BIPOC writers. We have free submission periods. We solicit work only from BIPOC writers, and we don't read anonymously. Annie Stenzel and I (the two white editors on the masthead) are aware that we have unconscious biases around the work that we prefer because we were raised on white writing. We are actively retraining our brains to see the beauty in writing beyond the white gaze. In the past, I would have passed on a piece if there were grammar and punctuation errors--even though I make them, too! Now I try to keep in mind that writers whose first language is not English or who don't have the luxury of time to memorize arbitrary writing rules still have something important to say and deserve to be heard, and it's our job to help them. 

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