5-10% Of the many submissions of poetry, short fiction, and non-fiction that we receive at Beautiful Losers Magazine, only around 5-10% of them are accepted for publication. If that sounds competitive, it’s because it is; and many literary magazines are actually quite a bit more difficult to get into than Beautiful Losers Magazine.
With that in mind, I’m proud to introduce a new concept to The Literary Game. Inside A Publisher’s Mind is going to be a running feature detailing the rationale behind the poetry, short fiction, and nonfiction that we’ve accepted at Beautiful Losers Magazine. While every publication has their own unique style, it is my hope that this can shed a little light on some of the core qualities of excellent literature and help writers improve their craft. I hope you find this of help!
Slickwas consistent with the type of poetry that we publish. We’ve rejected a poetry submission from a poet who was published in The New Yorker. Credentials don’t matter to us, especially if a poet or other type of writer doesn’t send writing that is a fit for our magazine. Slickis edgy, literary, and accessible – exactly in line with the type of poetry that we publish.
Slick was provocative. Lines like “When she came in my mouth, it tasted like a three-years-held / thank-you, / that sweet.” caught my attention. The entire poem was bold. Emerson didn’t dance around the sexuality intrinsic to this poem, he embraced it.
Slickwas exceptionally well-crafted. First, the basics: There were no typos, no grammatical mistakes, and no odd formatting, all of which turn me off because they indicate that either a writer doesn’t understand the basics of the English language, or that they don’t take their writing seriously enough to give it a proofread. Beyond the basics, Emerson showed that he wasn’t a novice through his strong use of imagery and the push-pull in the language’s subtlety. A less-skilled poet could easily have lost the artfulness of this poem and turned into a shock piece with little literary merit.
A month and a half ago, my fiancee and I moved from Connecticut to Baltimore. The arty, weird, almost anarchic qualities of Baltimore City seemed to be a perfect fit for a quirky couple like us. The fact that Lauren’s a Baltimore native didn’t hurt either. We hired movers (a whole other ordeal) and hit the road, moving in to the Hampden neighborhood immortalized in countless John Waters films.
Through being co-founder and co-publisher of Beautiful Losers Magazine, I’ve had the opportunity to partner with two talented writers, Austin Wiggins and Dario Cannizzaro. Austin and Dario have both recently released new collections of short fiction (check them out in the links at the end of the post). Seeing Austin and Dario put out such quality works inspired me to write my first book. Without getting into too much detail, the novel is about an underground cabal of high-powered individuals clandestinely engaging in child abuse. This story, like any other, needs a setting. While the cabal operates out of New York (my hometown, a city I know like the back of my hand), the protagonist is a Baltimore native. Of course, being new to the city, depicting Baltimore authentically can be a challenge.
So, how did I tackle that challenge of writing Baltimore and not looking like an outsider or someone who had no idea what he was doing? Simple – I followed a few basic principles.
Explore Your Location. If your setting is in a real place, or even if it’s a fictionalized version of a real location, visit the place! Talk to people from there, frequent restaurants, coffee shops, bars, and other establishments. Get an idea of the culture. Even just walking around observing people (not in a creepy way!) and the location can do wonders towards understanding a place. If a location is too far away and/or not financially possible to visit, simply go to the Internet. YouTube has videos of virtually every location on the planet. Watch them!
Ask Questions. Find a native from the place you intend to write about and ask them whatever questions you might have. If you don’t have any friends or family from that location, again, take to the Internet.
Treat The Location As A Character. Many novice writers make the mistake of either writing too much or too little description in their novels. Hit the right balance by integrating the location whenever possible into your story, but don’t overdo it. You want your readers to feel as if the story is taking place in a specific location/s, not in some formless world. That said, your novel isn’t a Wikipedia article either.
Modern Day, The Past, or The Future? If you’re writing about a setting from the past, do your research. If it’s the recent past, interview people who lived through the era. If you’re writing about a setting in the future, examine the location in its current state and make predictions about how it will differ in the near or distant future.
Live There. Nothing’s better than total immersion if you want to authentically capture the feel of a place, but if that’s not feasible, the first four options should more than suffice.
Do you have any tips for writing setting that might help our readers? Share them with a comment!
If you’re having difficulty with writing the setting and need a ghostwriter or developmental editor, consider working with me by clicking here.
The beginning of your novel is easy. The ideas flow out and you’re writing at least 3,000 words a day.
The middle of your novel starts to become arduous, but you still know where you’re going with your story. Maybe you’re down to about 1,000 words a day.
Now you’re at the finish line and it has become a nightmare because you have no idea how to artfully end your book. Sound like a situation you’ve faced before? If so, read on for a few different ways to conclude your novel or short story.
Open Ended – In this approach, readers determine what happened because the writer intentionally leaves the ending open to interpretation.
Traditional – A clear cut ending with no ambiguity. Readers know exactly what happened and why.
Back To The Beginning – The writer revisits the same/similar image or situation as at the beginning of the story.
Thoughts – A character, usually the protagonist, sinks into reflection.
Dialogue – Characters have a conversation.
Symbolism – Details that allude to something important are presented.
Which approach have you used in your novel/s or short stories? Why did you choose that approach?