Tag: Publishing

Unpublished — “Cuidado”

Another example of how COVID-19 is affecting everyone these days. A multitude of magazines have stalled, and a few are folding up due to economic hardships.

This includes an anthology which was about to publish one of my poems. The editors sent me this email:

We are unfortunately now forced to make the decision to not finalize the Impact anthology as we will most likely no longer have the financial means to carry the second URL (Unincorporated.site) for our magazine.

We are honestly barely holding on to our primary literary magazine and may have to fold indefinitely.

The future is unknown as Las Vegas has taken a dramatic hit financially because of the pandemic. Many of our volunteer local readers and editors are no longer employed or only partially employed.

We appreciate all the work that was sent and enjoyed reading many of them. It was a laborious effort and we were already having to make hard decisions regarding which pieces to include.

There were so many wonderful pieces, yours included. This was the hardest decision we had to make but didn’t want to leave our contributors in limbo any longer than we already have.

Helen: A Literary Magazine is (and hopefully will be again) a biannual magazine that celebrates literary works and fine art reflecting ‘the spirit of Southern Nevada.’ (Although I’m not from the area, the editors found my poem reflected an important conflict in their community.) The magazine takes its name from the “First Lady of Las Vegas,” Helen J. Stewart, a pioneer who helped forge the valley in the 1880s.​ They have an internal division called Unincorporated which specializes in anthologies and collections, including Impact. They also run Breedlove, a literary arts blog. As of April 2020, Helen is on indefinite hiatus.

Impact was going to be an anthology focused on Social Justice, ranging from personal experiences to works of fiction. The hope was to expand readers’ perspective on what social justice means and its effects and after effects in our society. Hopefully, those many contributors and their pieces will find other opportunities to publish, to shed a menagerie of lights on our conflicts and corruptions, those things we must repair before we pass the world to our children.

Behind-the-Quarterly

For a long time I’ve envisioned Rune Bear Magazine divided between Weekly and Quarterly. We would publish weekly stories under 300 words, but we would also have a seasonal writing contest.

Unfortunately, the Quarterly page on our website has looked like this for two years:

The guy we put in charge of Quarterly turned out to be a dud, so we let him go and I took over the contest. Instead of long-form writing, I decided to pull back to the flashiest flash fiction — the Drabble. Stories of 100 words exactly.

With $10 rewarded to the winner.

My editors came up with a list of prompts, democratically selected one, we hired an artist, and boom—I’m proud to announce that Rune Bear Quarterly is open for submissions until April 30, 2020. May will be a reading & selection period with the winner announced on May 31st.

The Spring 2020 prompt is “Weird Wild West” and the inspirational image (by no means the only interpretation of the prompt) is a dragon stealing a cowboy’s horse. This piece was made by the very talented Hari Nezumi, although in the future we will be relying on in-house artist Robin Stranahan.

 

Assistant Editor at Coffin Bell

Very excited to announce that I am now Assistant Editor of Coffin Bell, a quarterly online journal (they also have an annual print issue) that publishes “waking nightmares, dark CNF, dystopian flash, cursed verse.”

I hope to bring my decade of experience in literary circles, workshops, and critique groups (as well as my undergraduate degree in creative writing) to the operating table and get my hands slick with organ rot. I mean weird fiction.

The magazine wanted a headshot so I sent them this:

That’s me, by the way.

Rune Bear Launch

Rune Bear completed its launch with a series of flash fiction. Each of the editors published a 300-word piece in their respective domains. J. Motoki, our Strange Editor, wrote something creepy. Stuart, our Speculative Editor, an alt-future that plays around with humanity adapting to a new (radioactive) environment. Alyssa, Supernatural Editor, had some fun with the ‘princess turned into a cute forest critter’ trope. And I, acting as the judge of all things Surreal, made some kind of weird introduction to someone’s siblings. The intent was to showcase the kind of work we’re searching for, to present models and examples for future contributors.

Read, enjoy, submit something!

J. Motoki, Strange Editor, “Hydra

Desmond White, Surreal Editor, “These were my Brothers

Alyssa Warren, Supernatural Editor, “The Sparrow Queen

Stuart Warren, Speculative Editor, “Helmets

Creating the Logo & Mascot for Rune Bear

Phil Kiner has always been my go-to guy for visual marketing, so when I started Rune Bear, I had constant reassurance that the logo would end up looking awesome. And, indeed, I ended up with this:

But that wasn’t the first rune bear that Phil designed. Phil also experimented with configurations based on actual runes, specifically Elder Futhark (c. 150–800 AD).

A futhark is a type of alphabet that starts with some variation of F, U, Þ, A, R, and K, and Elder Futhark is the earliest known form. The alphabet was used by Germanic tribes during the ‘Barbarian Invasions’ (the Germans have a better word for it—Völkerwanderung while English academics have a more boring description—the ‘Migration Period’) which may or may not have led to the fall of the Western Roman Empire. Today, Elder Futhark is often found on old weapons, amulets, tools, and, yes, this is real life, runestones scattered across the European landscape.

Phil sent me three designs based on the futhark.

The first:

While I loved the diamond nose and frumpy grin, the ears, while stylish, gave the bear an undesirable ant-like quality.

The second:

The test market (me) liked the sideburns but thought the bear looked too grumpy.

The third:

#perfection

For a while I had settled on this design for the magazine.

But there was still this itchy inkling (writer’s rash?) in the back of my mind. I wanted something that would allow other artists to create their own variations. And something more blue, more realistic. My attempt looked like this:

No, wait, that’s something else.

My first design was this:

In his mouth I wanted the futhark word “alu” (ᚨᛚᚢ). The alu’s meaning is a contested issue, but some of its definitions hint at a strange, disturbed state created by sorcery or induced by ale (we’ve all been there). It is usually inscribed on artifacts of magical or mystical import. Other potential meanings include “taboo,” “strange,” “distraught,” and the “world between the living and the dead.” (I also considered ᛒᛖᚨᚱ, which is the word “bear” spelled out in futhark letters.)

In the end, Phil drew this:

… and the rest is rune history.

Strange, Surreal, Speculative, and Supernatural

Rune Bear claims to be a digital literary magazine dedicated to the Strange, Surreal, Supernatural, and Speculative.

We ordered the genres like that for the soft soil of sound; a sussuration as subdued as Robert Frost’s sound of sense. Sometimes alliteration is an aroma, an allure. But if we wish to sustain submissions, we’ll need to suss out exactly what we’re looking for.

Strange

By Strange, we mean Weird fiction, a subgenre of the speculative encompassing horror and tales of the macabre. Science, myth, and horror blend into stories which estrange the familiar, break the laws of Nature, and bring the reader into contact with madness. Ann and Jeff VanderMeer, editors of the incredible anthology The Weird, add that “With unease and the temporary abolition of science can also come the strangely beautiful intertwined with terror.” But Weird fiction is not necessarily terror-inducing. As Jake King explains “Weird Fiction is about things that aren’t just unknown, but essentially unknowable to humans. Given that we as humans fear the unknown, we usually assign it as horror, but it doesn’t have to be.”

Surreal

By Surreal, we refer to writing that tries to capture the wilds of the unconscious through irrational juxtaposition. André Breton, founder of the literary movement, defines the Surreal as a proposal to “express—verbally, by means of the written word, or in any other manner—the actual functioning of thought.” He adds that it’s an assertion of “complete nonconformism.” In this way, surrealism is better than realism—a rejection of the refined, a rapture of the raw. The bizarre, unreal, incongruous, paradox, and perverse are elements of Surreal, as well as thirty-six blue rabbit trucks.

Speculative

By Speculative, we mean fiction of the “what if?” As David Bowling describes, these are worlds “that could have been, or might have been, if only the rules of the universe were altered just a bit.” Often the grounding is in the sciences. Innovations or alternatives in psychology, sociology, biology, and technology lead to wild human problems and wilder solutions. In this way, Andy McCann describes, speculative fiction is “preparation for all futures”—an anticipation of infinite destiny. Ultimately, however, Steve Tully writes that the genre is “about you and me” (Lilly). The otherworld, be it magical or mechanical, is a testament to the human imagination, but also human reality.

Supernatural

By Supernatural, we mean fantasy, a genre of imaginative fiction. Sometimes there is a natural world, with the supernatural pressings against its edges. Sometimes the supernatural is the world; the rules of reality re-adapted to make-believe. Tolkien writes that fantasy “touches on or uses Faerie” which “may perhaps most nearly be translated [to] Magic—but it is magic of a peculiar mood and power.” Or, as George R.R. Martin writes, “Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab” (Perret). In this genre are epic, urban, high and low fantasy, fable, myth, steampunk, arcanepunk, a whole slew of other punks, and what Tolkien calls “the Perilous Realm.” We, of course, take all of the above.

References

Breton, André. Manifesto of Surrealism (1924). Ann Arbor :University of Michigan Press, 1972.

King, Jake. Weird Fiction Discussion Group. Facebook, 26 March 2018.

Lilly, N. E. “What is Speculative Fiction?” Green Tentacles, March 2002.

Perret, Pati. The Faces of Fantasy: Photographs by Pati Perret. New York: TOR, 1996.

Oziewicz, Marek. “Speculative Fiction.” Oxford Research Encyclopedias—Literature, March 2017.

Tolkien, J. R. R. Tree and Leaf (1939). New York: Harper Collins, 2001.

VanderMeer, Ann and Jeff. “The Weird: An Introduction.” Weird Fiction Review, 6 May 2012.

Writ in Water Issue #2

Today, I swung by HBU’s Author Celebration to pick up Issue #2 of Writ in Water.

(I’m the dude in the earflaps)

Writ in Water is the student literary magazine that I launched last year and subsequently passed on to Seth Grant (the lad to the left) when I graduated.

And Seth has done a remarkable job. Issue #2 is beautiful; the cover and interior as remarkable as the prose and poetry inside.

And speaking of remarkable prose, one of my pieces ‘somehow’ made it into the final print.

According to an editorial note, this year’s theme was “Community,” which comes from two Latin words that denote a group coming together in “oneness.”

Seth adds: “The pieces published here do not paint a picture of a perfect world because the world we live in is not perfect. It is not sanitized nor masked with false optimism. Life – yes, even the Christian life – is a struggle.”

Per tradition, Seth will graduate this spring and pass on the editor-in-chief position to the next aspiring bad ass.