Six Questions for M. Lynam Fitzpatrick, Managing Editor, The Linnet's Wings

The Linnet's Wings publishes creative non-fiction to 1500 words, poetry in all forms, flash fiction to 1000 words, micro fiction to 400 words, and story stories to 7000 words. Read the complete guidelines here.

SQF: Why did you start this magazine?

MLF: I have a passion for design and literature, Jim, and the opportunity presented itself when I started to work with a web developer in 2006.  At that time, I was living in Edgeworthstown, in Co. Longford, and uploading my own writing onto the Zoetrope Virtual Studio for critique and review. 

Edgeworthstown and its surrounding areas have nurtured and played host to some of the great writers of the past. The likes of Maria Edgeworth, Lord Byron, Oliver Goldsmith, Jonathan Swift, Anthony Trollope, Padraig Colom and as I walked the boreens (bridle paths) around the area, I used to wonder if there was something special in the air down the years that ignited the voices—a bit of fancy, Jim.

Also while polishing my own craft (still in practice here:)) I met-up with some other passionate writers and editors on Zoetrope. Some who joined me in the venture, and others who very kindly took a chance and allowed us to publish up their work. I'm glad to say that three years on, our original team has grown and we've continued to build in a positive fashion; it's been small steps for us but they've been well executed :).  

Our aim today on The Linnet's Wings is to showcase writers and artists whose work stimulates and challenges the sensibility and imagination of its readers, and to provide a seedbed of inspiration for writer/artists and readers both.

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

MLF: Of course there is the unwritten agreement between writer and editor regarding any submission, and it is that the story they submit will have proper grammar and syntax.  However, the knowledge of same is no good on its own, and naturally a story should have a beginning, middle, an end, and a plot.  But I want to read a story that stays with me, and allows me to visualize the characters and place. For me, good use of metaphor is important. An understanding of language, ie: good word choice that moves the plot forward—a good rich vocabulary, but one that fits the context, and also a strong consistent voice. 

I love the use of device:  letter; list; memoir; etc. these can add to the creative flow and take the story out of a conventional setting.  

Shakespeare explored all plots, so when I read, I'm reading stories that have been retold time, and time again. This makes it difficult for writers to pull away from a slush pile. However it's possible to do it with good use of device, metaphor, and language that's rich in imagery—I know I'm repeating myself—but it's done, in film, and in poetry; a script writer writes to a template, a sonneteer uses a template. And the skillful use of their device allows them to get under the skin of the plot, the characters, the tone and place. 

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

MLF: It just might not fit our vision for the quarter. We may have reached our quota, and while fitting our criteria, there may be another five stories ahead of it that we'd prefer to use. We have space for about 40,000 words and once she's full we can't stretch her.

SQF: What is it about the characters in a story that makes them pop off the page and grab hold of you?

MLF: A character that's marked with an emotion that is developed in a disciplined fashion—back to good word choice and layering ie: use of device.  Also as a reader I need to empathize, in some fashion, even with the most horrible characters.

SQF: Will you publish a story an author posted on a personal blog?

MLF: Yes, I will. If the work is good enough and meets our standards we'll publish it and be pleased to get it!

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

MLF: What steps do we take once a submission reaches us and what does it take to produce a quality magazine? 

All submissions come into my inbox here in the office in Dromod. On receiving them I forward them through to our review team for the quarter in question, and within a week of receipt I reply to the mail. 

We accept subs throughout the year, but we have specific reading periods, for example;  for autumn we'll read for the first two weeks in Sept. During this time, each editor has an opportunity to voice an opinion or critique a story/poem/cnf.  Every submission we receive is read, and during these two weeks we design a story board around our submissions; this gives us an opportunity to see the flow-of-work as our readers will receive it, in their print copy—what works and what doesn't for our final presentation.

By now our web template is built, and she's placed in our design office for photo and art suggestions. 

We then send out acceptance and rejection letters to our contributors. 

On acceptance our writers are asked to proof their work again and send it back to us. It then goes for copy.

Once in copy, we proof for mistakes (we'll nearly always find something, and that's fine, as we'll always miss something as well ) and we might make some suggestions regarding their presentation, however we will not disturb voice, in any way, shape or form.  We then send the proof copy back for our contributors' approval. Once we have that, the work goes up to our desktop publisher where she's prepared for digital and print upload. And then lastly cover templates are fixed for publishing.  A proof copy is then ordered and sent to an editor for review, on their acceptance we put her live. 

As with most literary zines none of our team is paid, we don't pay our contributors, but we know the time and work that goes into creating a good story and poem, so we give it our best this end to ensure a polished product.  

Thanks for the invitation and opportunity Jim, it was much appreciated.

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


NEXT POST: 10/6--Six Questions for Raquel D. Bailey, Founding Editor, Lyrical Passion Poetry E-Zine 

Six Questions for Ramon Collins, Micro Fiction Editor, The Linnet's Wings

The Linnet's Wings publishes poetry (all forms), micro fiction (to 400 words), flash fiction (to 1000 words), short stories, creative non-fiction (to 1500 words), and essays online and in print. You can read the complete guidelines here.


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

RC:
1.] First, tell me an interesting story.

2.] I’m the filter: tell a compelling story that will interest our readers.

3.] Please don’t submit a half-baked biscuit. Write a story you are proud to put your byline on.

I like to present a diverse group of Micros (about seven; action, romance, mystery, western, etc.). No “Woman Crying In The Bathtub” or “A Boy And His Dog” stories.

It’s my taste and experience that will decide what will interest our readers; what stories they might recommend to friends and family. A successful magazine is very aware of networking.


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

RC:
1.] Pay close attention to the title. An experienced Micro writer knows the first rule, “Every word does a job.” Too many beginning Micro writers just label their stories.

2.] Try for a Hook in the opener. If you hook my attention early on, the opener will probably catch the reader’s attention.

3.] Of course, submit a well-written plot that has a beginning, middle and end. Some character development in mid-story. Come to a conclusion -- many Micros just trickle out the back door. The worst thing that can happen to a story is to have an editor finish it and ask, “So what?”


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

RC: Certainly, spell-check and follow the word limit.

Stop writing when the story is told. A word limit of 400 doesn’t mean you have to pad it out to 394 or 397.

Watch tenses and try to keep in the Present Tense.

Avoid overuse of adjectives and adverbs.

Micro happens fast, but don’t force it.

The writer should stay out of the story, or at least stand in the shadow.


SQF: What is it about the characters in a story that make them pop off the page and grab hold of you?

RC: I want to “see” the character in my imagination. Show me what s/he looks like (physical description is often a Micro crutch; choose words carefully). Describe any special characteristics or quirks: posture, walking style, tics, nervous habits, etc.

Dialog is spoken, not written. Read all dialog out loud and check for normal conversational flow. The ear often catches what the eye misses.

What does the protagonist really want; what is her or his goal? Make me decide if they succeed or fail. Does the character undergo some kind of change? Round out the character.


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?

RC: Yes, Virginia, there is an e-zine Black List but I want no part of it.

I have three other editors and a Managing Editor who are free to read all Micro subs and comment. Rejection is a hard emotion to deal with at any level. Rejection really means it’s a story that doesn’t fit the LW ambience at this time. The M.E. handles rejection correspondence and she’s very fair and tactful.

If I hit a knot in the log in a story, or have a suggestion, I work directly with the writer.


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

RC:
Q: In your opinion, what’s the future for Micro fiction?

A: I think Micro & Flash will play an important role in fiction’s future. It’s the way people tend to read today and possibly the only way our grandchildren will read. Generally, the majority of people don't read and some, can’t. Studies indicate reading comprehension is almost extinct.

Read an interview with Ramon by Randall Brown on his site, FlashFiction.Net.

Thank you, Ramon. We all appreciate you taking time from your busy schedule to participate in this project.
NEXT POST: 3/3--Six Questions for Dale Wisely and F. John Sharp, Editors, Right Hand Pointing and Left Hand Waving

Six Questions for Nicola Martinez, Editor-in-Chief, White Rose Publishing

Now part of Pelican Book Group.

White Rose Publishing publishes romance stories in which faith is the cornerstone of love. A variety of lengths are accepted, including short stories (10,000-20,000 words), novelettes (20,001-35,000), novellas (35,001-60,000), and novels (60,001-80,000). Stories can have contemporary, historical, or futuristic settings and most sub-genre are accepted. Read the complete guidelines here.

SQF: According to a report by Foner Books (http://fonerbooks.com/booksale.htm), “[g]rowth stagnated for booksellers in 2008, and overall book sales barely moved according to the government.” In addition, I’ve read a number of articles concerning the difficulty authors are having securing book deals. In your opinion, what is the current state of the print book market?

NM: With the growing popularity of eBooks, the market for print books is definitely shrinking, but I don’t think print will completely disappear any time soon. What we are seeing in print books, even among larger publishers, is a shift towards utilizing POD (print on demand) technology to produce new titles or to keep backlists alive. In my opinion, this is a good thing. It means sustained life to older titles and an increased opportunity for publication to new authors whose salability is yet unproven.

SQF: What are the top three things you look for in a manuscript?

NM: Great hook. If it doesn’t make me want to read the book from sentence one, then I’m not going to read it.

Polished writing. The storytelling skill has to be such that I truly become so engrossed in the story that I don’t want to stop reading. But in addition to the storytelling, the mechanics—spelling, structure, grammar, etc.—all has to be top-notch.

Intriguing plot. In a romance, the established formula of Boy-Meets-Girl, Boy-Loses-Girl, Boy-Gets-Girl-Back, has to be present—I mean, has to be present—but the plot needs to be fresh and interesting.

SQF: What major mistakes do authors make when pitching their books?

NM: The foremost mistake I see is not following the submission guidelines. We receive a lot of submissions that fall outside our word count or content guidelines. Whether you’re pitching in person, via virtual meeting, or email, pitching a book that doesn’t meet the publisher’s guidelines is, well, to be frank, a waste of time. I want to spend some time elaborating on this because, even though it may seem trivial to some, I believe it’s very important.

Think of your submission as a job interview. Would you apply for a job that clearly stated qualified applicants should possess fifteen years’ experience when you had no experience at all? No. You’d be wasting your time and the company’s. Just so, don’t submit a 100,000-word manuscript when the top word count is clearly 80,000, or a book of poetry to a mystery publisher. Remember, publishers have guidelines for several reasons—and one of them isn’t to offer a suggestion. They may be called “guidelines,” but think of them more as “rules.” They are set in place so that neither the author’s time, nor the company’s time is wasted. At White Rose, we publish only romance. If you submit a western, we’re not going to publish it—doesn’t matter how wonderful the writing is or how interesting the story.

Along the same “job interview” principle, beyond looking for a great and marketable story, editors want to know that when we send you edit instructions, for the most part, you’ll be able to follow them without too much issue. If an author cannot even read the submission guidelines and follow them during the “interview” process, how well is he/she going to follow edit instructions once he/she acquires the “job?” As odd as it may sound, we look at how well you follow the submission guidelines as a direct representation of how well you will follow edit instructions later. Not following submission guidelines is like going into an inning of baseball with one strike against you, (Why would you want that?) Plus, you run the risk of your submission not even being considered. Case in point, if I see a manuscript come in at 100,000 words, I rarely read the synopsis. I know that in order for me to contract this work, 20,000 words are going to have to be cut. That’s a huge edit, and chances are there’s another submission sitting on my desk that does fall within the guidelines. I’ll consider that one first. The only exception may be if the author addresses the issue, somehow shows me that they know the word count is over, and that they are willing to cut it should we like the story. At least then, I know the author hasn’t disregarded the guidelines.

I know all this may sound harsh; I don’t mean it to be. I just want authors to realize what they are up against even in those areas that may seem trivial—even with a small publisher.

SQF: Of the books your company publishes each year, how many are by previously unpublished authors?

NM: I don’t have an exact percentage, but we are as open to unpublished writers as we are to published authors. Quality of story is the main criterion by which we judge.

SQF: What is your advice to new, unpublished authors looking for a publisher or agent?

NM: Hone your craft. Be open to constructive criticism and ignore hurtful criticism that doesn’t help you to improve your ability. Study the market in which you wish to publish, and then write something you love. If you write a story merely because it is the latest “thing” editors are looking for, you will usually come up short. Love what you write first, and then conform it to specs.

When you approach a publisher or agent, know what they’re looking for and be respectful. (This may sound like a given, but you'd be surprised. :))

SQF: What question do you wish I’d asked that I didn’t? And how would you answer it?

NM: —how about, “What’s new?” :)

On 27 July 2010, Pelican Ventures (the parent company of White Rose Publishing) announced the launch of a sister publishing company. Harbourlight Books will publish Christian fiction in all sub-genres except romance (also excluding children’s and YA). We’re excited to expand into being able to offer the reading community a wider variety of books.

Thanks so much for allowing me to participate in your blog. I appreciate it and hope that my answers help. Happy writing, everyone, and God bless.

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

NEXT POST: 10/4--Six Questions for M. Lynam Fitzpatrick, Managing Editor, The Linnet's Wings

Six Questions for Constance Brewer and Kathleen Cassen Mickelson, Editors, Gyroscope Review

Gyroscope Review publishes fine contemporary poetry in a variety of forms and themes, including fantasy, science fiction and horror. Read the complete guidelines here.

SQF: Why did you start this magazine?

Constance Brewer: We wanted to fill a niche between magazines that are associated with colleges and universities, and the experimental magazines out there. There’s a lot of poets that don’t comfortably fit in either realm, but still produce great work. We love poetry and want to share that love with our readers. It’s so exciting to dig into the slush pile and find those gems.

Kathleen Cassen Mickelson: Constance and I already knew that we worked together well from having been on the staff at Every Day Poets for several years. I agree that there’s plenty of room for non-academic poetry journals that seek to present contemporary verse to the general public for their reading pleasure. Poetry does not have to be so esoteric that it puts readers off or makes them feel like they need higher education to participate. But it does have to be crafted well enough that it stretches ideas about what poetry can be, that it engages readers, and may comment on current events in a thoughtful way. Gyroscope Review can offer that. I love staying connected to a variety of poets in this way.


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

CB: Is it engaging - Does the poem invite me in and draw me through to the end? Is there attention to the use of language - love of words and the ability to use them to build the poem? Is there something in the poem that draws me back to read it again - does it tell me a story in some way, shape or form?

KCM: I look for the twist of ordinary life, the way poetry can elevate experience toward a deeper understanding or appreciation of whatever that experience represents. A love of words is essential, but overwriting to the point of obscurity will put me right off. Don’t be a show-off; be clear in your language. And risk telling a truth that gets you in trouble.


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

CB: The mundane. Mundane imagery, mundane word choice, mundane presentation. A poem that hasn’t been edited and honed down to essentials loses my interest. We receive some obvious rough drafts. Be patient, put the poem away a while, go back and edit it some more. Craft it like you would a diamond. This is what magazines mean when they say “Send us your best work”.

KCM: Yes, I agree. Sloppiness - and that includes submissions with typos - makes me crazy. Poetry isn’t something you can just dash off. It’s a thoughtful piece of literature, a gem that has many facets - to play on Constance’s comment about craft. Each facet must be considered. Other things that turn me off are childish rhyme, overt sentimentality, and exclamation points. If a poet has to use an exclamation point, there better be a damn good reason why the language isn’t doing the job on its own.


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

CB: Only if a submission was very close. I enjoy discussing the mechanics of poetry - our goal is to make the poem the best it can be. We don’t mind engaging in a dialogue with a poet, but if all they want to do is argue or name call - that’s not cool. Don’t be that person.

KCM: Right. We’re not going to provide comments on the poems we reject because there’s simply too many. That would be an enormous amount of work and not everyone wants that anyway. But thoughtful dialogue with an eye to creating better work is always welcome.


SQF: What are a few magazines/e-zines that you read regularly?

CB: 32 Poems, Rattle, The Linnet’s Wings, American Poetry Review, Poetry, Prairie Schooner, The Kenyon Review, Tin House, Valparaiso Poetry Review, and Strange Horizons to name a few. I try to read a variety of newspapers every day to keep up with what’s going on in the world. I look for copies of literary journals in bookstores to buy and expand my horizons.

KCM: I subscribe to Rattle, Poetry, Boston Review, Creative Nonfiction, The New York Review of Books, and The Sun. I have a bunch of random issues of various small and literary journals from this year’s AWP conference that I still have to peruse. And I read all kinds of other stuff. There is so much out there to read that it’s hard to narrow my selection of reading material down to any manageable size.


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


Do you charge a submission fee?

CB: No, we don’t. We understand why other magazines do it, but we decided not to go that route. We’d like to eventually become a paying market for our poets, that’s our long term goal, along with a print edition for those that like a tangible.

What if a simultaneous submission gets accepted elsewhere?

KCM: Professional courtesy around simultaneous submissions is something I wish more writers would pay attention to. If a piece is accepted elsewhere, please tell us immediately so we don’t waste time considering it further. Everyone scrambles to find time to do the work that needs to be done in this business. Don’t be the writer that waits until we’ve accepted your work to say, oh, by the way….someone else already accepted this and I forgot to tell you. We’re going to remember you if you do that.

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

Six Questions for Stefanie Freele, Fiction Editor, The Los Angeles Review

The Los Angeles Review publishes short-short stories to 500 words, fiction of 1000-4000 words, poetry, reviews, and translations. The editors seek compelling prose containing rich details and told in a distinctive voice. Read the complete guidelines here.


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

SF: Originality, lovely language, and lately humor/absurdity.


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

SF: Unoriginal, tired topic, cliche'd writing.


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

SF: Melodrama, sappiness, cutesiness, predictability in plot/character/scene/setting/subtext etc. and also the opposite end: trying-too-hard-to-be-edgy with dialogue or plot while leaving the characters empty.


SQF: What is it about the characters in a story that make them pop off the page and grab hold of you?

SF: They feel quirky, real, and I want to get to know them better. I don't already know these characters, they are new people that interest me. I don't know what they are about to do, or say, or think, or feel. They are the folks I'd people-watch.


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?

SF: I don't mind a polite question now and then, but most writers don't ask because they already know that editors are overwhelmed with submissions and don't have the time they'd like to take to offer suggestions or feedback. I've only had a few people respond to a rejection in a less-than-professional manner, which is just plain idiotic. The numbers alone tell a writer that a magazine can't possibly accept EVERYTHING. They just can't. Someone has to get rejected. It is just a fact. So, you send out more submissions and keep on writing.


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

SF: Q. How on this God-given rich-soiled earth can people subscribe to the bountiful Los Angeles Review? A. Go here!


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

NEXT POST: 3/1—Six Questions for Ramon Collins, Micro Fiction Editor, The Linnet's Wings