Six Questions for Sherri Ellerman, Flash Fiction Editor, Liquid Imagination

Liquid Imagination publishes fantasy, horror, and science fiction stories (to 5000 words, 3000 preferred) and poetry, articles on writing, literary fiction, and flash fiction from 200-999 words in any genre. One aspect of Liquid Imagination that distinguishes it from other publications is its use of imagery, music, and voice to enhance the written work that appears on the site. 

(Ceased publication)

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

Sherri Ellerman: 

Depth: I often over-think things, and I seek a deeper meaning in most everything. Both of these are factors in the choices I make with submissions. I tend to look for meaning behind a story or at least a revelation within it.

The author’s trust in the reader: I would rather miss something in a story than have every little detail spelled out. One of my favorite authors, Ann Marie McDonald, demonstrates perfectly how to trust the reader. She is able to show so much without coming right out and saying it. This can sometimes lead to unanswered questions, but that is often a trademark of flash fiction anyway.

Clarity of the characters: A writer of flash fiction has so few words in which to develop his characters. His ability to do so efficiently is something I look for in submissions.
SQF: What most often turns you off to a submission?

SE: Besides a lack of the above mentioned, it would be an obvious disregard for proper grammar and usage. I am strict on myself concerning this when I write, so those mistakes bother me. Because of that, they are a distraction from the story. I will accept a piece that I have to edit and work with the author on, but it has to be really good in every other way that matters.
SQF: Will you publish a submission an author posted on a personal blog? 

SE: We prefer pieces of writing that aren’t already available to readers on the internet. How can we surprise our readers with fresh ideas if we are publishing something that they may have already seen?

SQF: Your guidelines state stories that "surprise us with fresh ideas and language” have the best chance of being accepted. Is there a particular story (or stories) that stand out as examples of this? Why?

SE: Going Under by J.J. Roth

This story drew me in with all of its subtle metaphors and symbolism. It could technically work even if the reader misses both, so it took a lot of trust from the author to let the readers see what he intended for them to see. He kept the language simple yet was able to show so much with the details he chose to include in his descriptions
SQF: What magazines do you read?

SE: To be honest, I can’t recall the last time I bought a magazine. If I have a lot of time to read, I will pick up a book. For a small window of time, I will go to the internet—to online magazines. I know that sites put together well, like Liquid Imagination and Fabula Argentea, will always have something to offer.
SQF: What one question on this topic do you wish I'd asked that I didn't? And how would you answer it?

SE: When I submit a piece for possible publication, I often wonder about the editor who will ultimately decide to decline it or consider it. If I could ask just one question of an editor who will be reading one of my flash submissions, it would be this:

“How did you become interested in flash fiction?”

His answer will give me a strong indication of what he is looking for in submissions.

My Answer: Because I have a limited amount of time to write, I was getting bogged down in finishing my longer projects. Flash gave me an opportunity to write shorter pieces that contained complete story arcs but took less time to complete. I found the same satisfaction in reading flash fiction.

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

NEXT POST: 9/5—Six Questions for Dash, Editor, Expanded Horizons

Six Questions for Kevin Wallis, Fiction Editor, Liquid Imagination

Liquid Imagination publishes fantasy, horror, and science fiction stories and poetry and articles on writing. Beginning in May of 2010, the magazine will add literary fiction to each issue. The editors accept short stories from 200 to 5000 words. (Stories around 3000 words are preferred.) One aspect of Liquid Imagination that distinguishes it from other publications is its use of imagery, music, and voice to enhance the written work that appears on the site. 

(Ceased publication)


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

KW:

1. An actual story to tell. I receive many stories that don't fulfill this requirement. If I find myself scratching my head after the end and wondering what exactly the point of the story was, it's not right for Liquid Imagination, no matter how well written it is. I notice this more in flash pieces, which are a particularly hard sell with me. There's such a fine balance between a well-written flash that tells a complete story and one that would be better suited for a longer format.
2. Intensity. The story has to evoke some kind of emotion as I read, whether it's tension, suspense, humor, sadness, whatever. But emotion has to be a part of it. Make me laugh, make my heart race, bring tears to my eyes, just make me react physically to the words on the page.
3. Good writing skills. This doesn't mean it has to be 100% error-free, or contain prose that would make Steinbeck envious, but I want to see evidence that the writer has studied the art form at least a little, has a decent grasp on the basics such as punctuation and grammar, and takes his or her work seriously.

SQF: What are the top three reasons a story is rejected, other than not fitting into your answers to question one and why?

KW: This answer coincides closely with my answer for question 1.

The story needs to be complete. In other words, it needs a beginning, middle, and end. This may be one reason why I don't accept too much flash fiction. So much of it feels incomplete to me; and although I've been told by flash writers that I am merely ignorant of the art form, I can't help but feel that way. I want a complete story. This doesn't mean the ending has to be spelled out and wrapped up neatly; I actually prefer the opposite--ambiguity, mystery, leaving some things to the reader's imagination.

I also reject many stories that are so full of typos, grammar mistakes, and punctuation errors that it would take me too much time to correct. Inattention to the details leads me to believe the author either does not take his or her work seriously, or does not take Liquid Imagination seriously. I am more than happy to edit the story and correct a few inevitable mistakes here or there, but I now receive enough quality submissions that I can afford to pass on stories full of errors.

The number one reason I reject stories is probably due to lack of intensity. We state in LI's guidelines that we are looking for intensity and awe, so I find myself passing on more and more stories that don't elicit these emotions as I read, regardless of how well-written the story may be.


SQF: What common mistakes do you encounter that turn you off to a story?

KW: This isn't so much a mistake, but I don't usually accept unoriginal stories. In other words, if a story is cliched, or involves a plot line seen a thousand times before (The narrator turns out to be a ghost! It was all a dream! They're really on Earth!!!), it's gonna be rejected.

I really don't adhere to the standard "rules" when deciding if a story is worth accepting. I don't scream every time I see passive voice, or throw a manuscript in the trash because the story starts with dialogue. If it's an intriguing and emotional story and is well-written (not perfectly written), then it is strongly considered.


SQF: Do you provide comments when you reject a story?

KW: Always. If LI ever gets to the point where I'm receiving fifty subs a day like some of the big dogs, maybe I'll have to resort to the dreaded form rejection; but I'm gonna do everything in my power to avoid that. Having a rejected writer respond with gratitude for whatever advice I might have given is one of the reasons I love doing this.


SQF: I read a comment by one editor who said she keeps a blacklist of authors who respond to a rejection in a less than professional manner. I'm sure you know what I mean. What do you want authors to know about the stories you reject and how authors should respond? Along this same idea, do you mind if authors reply with polite questions about the comments they receive?

KW: Anyone who has ever received a rejection letter--and I've received hundreds more than I've given out--knows that thick skin is a necessity in this business. That being said, I encourage replies to my rejections as long as it is done professionally. It's never personal. I've had many rejected writers reply, either asking for clarification as to my reasoning, or if they can send more work, although I usually state in a rejection if I'd like to see more from a particular writer.

I've been lucky, however. To date, I have had only one rejected writer respond with anger and ego, and his reply was so arrogant that I could only laugh.

As for blacklisting, I don't really believe in it unless 1) plagiarism is involved (I had to deal with a case of plagiarism several months ago), or 2) an author has repeatedly proven difficult and unprofessional to work with. In those cases, I would simply write the offending person and ask him or her to stop sending me submissions.


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

KW: Who has been the biggest influence on your early writing and editing career?

John "JAM" Miller and AJ Brown have easily been the two biggest, most positive influences in helping me become a (hopefully) competent editor and writer. I owe them more than I can repay. I hope to buy them a beer one day; but since neither of them drinks, I plan on drinking their beers and buying them Diet Vanilla Coke Zero. Or anything but Kool-Aid. Never let AJ drink Kool-Aid. It's . . . not pretty.

Thanks a million for your time, Mr. Harrington. I sincerely appreciate it.

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

NEXT POST: 6/2--Six Questions for Ellen Parker, Editor, Frigg

Six Questions for Chrissy Davis, Poetry Editor, Liquid Imagination

Liquid Imagination publishes fantasy, horror, and science fiction stories and poetry and articles on writing. Beginning in May of 2010, the magazine will add literary fiction to each issue. The editors accept short stories from 200 to 5000 words. (Stories around 3000 words are preferred.) One aspect of Liquid Imagination that distinguishes it from other publications is its use of imagery, music, and voice to enhance the written work that appears on the site. 

(Ceased publication)


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

CD:

• Fresh or vivid imagery—I want the poem to paint a picture in my head. If you’re writing about being stalked by a rabid troll or the time you met a fairy, I want to believe it happened.
• A strong sense of emotion—We are a fantasy/horror/sci-fi e-zine, so obviously the majority of the poetry will not be from real life experience; but I want to be drawn into the writer’s world and feel it happening as if it were real. I want it to make me catch my breath and be compelled to read it again.
• Consistency with the rhythm or tempo of the poem—Rhyming is not necessary but following a consistent rhythm makes for a better poem. And sometimes it will start off this way but by the end of the poem it is completely on another track.

SQF: What are the top three reasons a poem is rejected, other than not fitting into your answers to question one and why?

CD:

• It doesn’t fall into the genre of Liquid Imagination
• Forced rhymes. If you do choose to use rhymes, make sure they don’t feel forced. It makes it seem like the writer was desperate to keep the rhyme going.
• No structure whatsoever. A good poem will usually have some kind of structure or form to it. For example, think about stanzas or line breaks. Decide if you will use punctuation; and if you do, then be consistent throughout the poem.

SQF: What other mistakes do you encounter that turn you off to a poem?

CD:

• Clichés. Some things have just been played out, so I like a turn or twist on the usual. Make it unique.
• If it’s too long. Sometimes you can say more with less.

SQF: Do you provide comments when you reject a poem?

CD: Sometimes yes and sometimes no.  I think that I am still uncomfortable with this because I look at myself and say who the heck am I to tell someone what to do with their poem. I may offer a couple of suggestions on how I think it can be improved; but I am passionate about poetry, and I have this belief that a poem comes from your inner core or your guts. It is raw emotion sometimes; and if that is what someone has to say, then it is beautiful in its own way. . . just maybe not for Liquid Imagination. :)


SQF: Approximately what percentage of the poems submitted do you accept?

CD: That is hard to say because it would depend on how many submissions I received for that issue. I can say that I am limited in the number of poets and the number of poems for each issue that I can use. I think the last one has 10 poets on there. This is a big reason many are not accepted. I have to choose what I think would be best for that issue. And I really try and give new or emerging poets a shot. I know what it feels like to be accepted for the first time. 


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

CD: Hmmmmm, good question. . .. Well how about :

When someone makes these mistakes does it turn you off to that poet so they will have a hard time being accepted later?

Absolutely not! I believe the only way to write good poetry is to write bad poetry first. All these mistakes I mentioned I have made plenty of. Even after the release of my book Raven’s Brew, I would look back and go “Wow, I really put that one in there??!!”  But, oh well, we all learn and become better that way. As long as I have lots of really great poems too, then I can be proud of my mistakes. Now I am working on Volume II and feel much more confident. It’s the only way to learn! So please keep the submissions coming! I love getting each and every one whether it is accepted to Liquid Imagination or not.


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

Six Questions for Kevin Wallis, Fiction Editor, Liquid Imagination

Six Questions for Sue Babcock, Non-fiction Editor and Business Manager for Liquid Imagination

Liquid Imagination publishes fantasy, horror, and science fiction stories and poetry and articles on writing. Beginning in May of 2010, the magazine will add literary fiction to each issue. The editors accept short stories from 200 to 5000 words. (Stories around 3000 words are preferred.) One aspect of Liquid Imagination that distinguishes it from other publications is its use of imagery, music, and voice to enhance the written work that appears on the site. 

(Ceased publicaiton)


SQF: Why did the editors start this magazine?

SB: The idea of merging different art forms—fiction, poetry, art, music, voice—so intrigued the founding publisher that he had to put together an online magazine just to see if he could do it.

I took over the rather daunting task of website building with Issue 4. I had no experience with websites, but the publisher was floundering and I thought, hey, I’ve programmed computers in the past, how hard could this be? Well—the answer is hard, but FUN!

We put Issue 5 up in January. As I’ve taken on more of the website building, the publisher has more time and energy to think ahead. (I promised I wouldn’t talk about him, but Liquid Imagination would not exist without John Arthur Miller, its enthusiastic publisher and founder.)

At first it was all writing and art. Even as we add music to our poetry and voice to our stories, we have even bigger plans for the future. I’m expanding my website creation and design skills, we’re expanding the arts beyond fiction, poetry, art, music and voice; we want to stay on the edge of the arts.


SQF: What kinds of non-fiction articles are you looking for and how do you select them?

SB: We seek articles about writing and about writing experiences. We also publish interviews with authors we think will interest our readers.

Articles can talk about what makes a good writer, what it is like to struggle day after day to put just the right words into a story, what makes a good story, a good plot, a good character. We also love articles about the creative process—ways to stimulate the right brain, ways to move ahead when you are stuck.

For most of the articles, we solicit them specifically for each issue. However, I am open to unsolicited articles as well.


SQF: Can anyone submit an article? How?

SB: Yes, anyone can submit an article. It’s something we don’t advertise much, because we prefer to concentrate on the fiction and poems. And how is a good question. An article can be sent to either of the fiction submission addresses. By including the words “submission” and “article” in the subject, it will find its way to me.

Obviously, something I need to consider is expanding the guidelines to include more information about articles and non-fiction submissions.


SQF: What advice can you offer a writer who wishes to submit to Liquid Imagination?

SB: For non-fiction, write an article about something you are credible to talk about. One of our regular non-fiction contributors is Right-Brain Coach Dare Kent. She has training and experience with helping people find their creative center, and I always enjoy her articles and her help. If you have self-publishing experience, write a strong, concise, advice-driven article about self-publishing. Show us how it is done. Provide information that may not be available to everyone. I’m not looking for generalities or fancy language. I want something that is accessible and clear.


SQF: Will you publish an article that has been previously posted on a personal blog?

SB: Yes. One of our other regular contributors, AJ Brown, writes an excellent blog, and we often cross publish him. And we’re happy to link back to the personal blog. But there must be a point to the article, and I like to know when an article has been previously published.


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

SB: One question that comes to my mind is: why non-fiction in a magazine such as Liquid Imagination, which so strongly seeks creativity, intensity and awe in their poetry and fiction? My answer is that not only do we love to read and write, we want others to love it, too. And by publishing non-fiction articles related to the creative process, or to any phase of writing, we hope to encourage and educate authors to keep writing, to never give up, to write what they love, and to remember to read.


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

NEXT POST: 5/28--Six Questions for Chrissy Davis, Poetry Editor, Liquid Imagination