Spoke too soon! Another of my stories, “The Hummingbird Murder”, is currently live at theNewerYork. For the longest time I had been hanging around their venue, enjoying their unusual format and the way work is presented there. Only recently did it occur to me I could submit there. Why the lag between admiration and participation? I have no idea.
I love online journals and frequent many. The options available in terms of formatting and presentation, the risks online journals can take to interact with readers, to link visual and written forms of expression, to make connections between artists and audiences are all wish list asterisks best met—best embodied as methodology and substance —by online journals, at least in potential. I edit fiction for a fantastic online journal, rawboned. I know how hard we, (Trisha Winn–beloved Boss, Ginna Luck, myself, and the magic that is bevin) work to turn out a product that is consistent with a demand for quality and a kinship with readers and writers (and artists and filmmakers).
And I am in love, as well, with the short form. I spend so much freaking time on small pieces—it’s an investment requiring just as much time per thematic thread, per line, per word, as any other piece, maybe more per jot because you cannot get away with a stray phrase in an ultra-short form. Flash and Micro are the naked selfies of writing. But writers like to poo on themselves, I’ve noticed. I hear us belittling our efforts as often as inflating our merits. “It’s just a short-short.” What does that mean? You could ask Lydia Davis, but that would just make you look silly.
I know some people object to the not infrequent submission fees of online journals, especially the smaller ones (theNewerYork does not charge, rawboned must). I don’t mind a fee under ten dollars, or higher if I have it, because I realize how much it costs to maintain a dedicated website and submission portal. Submitting my work is worth it, so that’s not an issue. Online is on. Why, for the price of a pint—not even a craft pint—would a writer turn down a blazing hot mic?
Go on over and take a look at my story, and please, comment, share, and compliment the artist whose work the editors have paired with my story, Lori Nelson. Wow. I am an instant fan. And then take a look around theNewerYork—it’s a fascinating place. Once you’ve done that, hop over to rawboned and check out another of the fresh faces in literary opportunities.
Then, come on back and tell me what you think of the last line of “Hummingbird”…interesting story, that line. That is actually not my line, as in, I didn’t write it, so I am somewhat curious about its impression and have some editorially complicated thoughts…but that’s another post.
Reblogged this on rawboned and commented:
Reblogging Shelly’s post on journals, shorts, and art. As she says, “Flash and Micros are the naked selfies of writing”. We couldn’t agree more.
I like the encompassing wrought by that phrase: birds hovered, hands hovered. I further like the semantic expression of “off the ground” present in that verb. It seems to spread through the narrator and the baseball flower imagery and the brother. And “withered.”
Thank you for reblog, TWinn!
Erik, that was one good reason “withered” was meant to be the last word. Someone else I know said it works with or without the editors’ additional line. And yet several others among my writers and friends have said the last line ruins it. Um…I’m still sorting it out. But it’s an enjoyable problem as problems go.