Editorial Preferences in Art: Ashlee Cunningham

To me art must tell a story, whether it is a complex one or a simple one. Looking at a piece of artwork and having an emotional response means the artist did his or her job. One of my favorite leisurely activities is to go to an art museum with my dad and try to figure out the story behind what the artist is conveying through the piece. Whether we come up with serious stories or sometimes silly ones, everyone sees art differently and that is what I love about art: it speaks to us all in a different way.
I enjoy a variety of mediums when it comes to art, but the two I enjoy a little more are photographs and oil paintings. Photographs can take you back to a memory you long to relive and a gorgeous oil painting can make your wildest dreams take flight on a canvas.
There is a beauty to complex pieces of art as well as beauty in simplicity. Picasso said, “Everything you can imagine is real.” So create it- any way imaginable. Tell a story in the craft, complexity and simplicity of it all.

Bio:
Ashlee Cunningham is a sophomore at Arizona State University pursuing an undergraduate degree in Intermedia Art. She is the Art Editor for Superstition Review and has loved growing her knowledge of art. When she is not in class you can find her capturing life through the lens of her camera.

Ashlee Cunningham, Art Editor for Issue 19 of Superstition Review.

Ashlee Cunningham, Art Editor for Issue 19 of Superstition Review.

Editorial Preferences in Fiction: H. Rae Monk

Editorial Preferences in Fiction: H. Rae Monk (Spring 2017)

I remember fondly an Advanced Fiction class, where my peers and I workshopped two previously published short stories. The first piece took up only a few minutes of discussion, because everything about the craft, the content and the emotion was air-tight. The second, with many a swiftly moving editing pen and several hands risen, in need to remark on this or that took much, much longer to finish with. I think the instructor had us do this exercise for multiple reasons, however I remember the experience, because I couldn’t help asking, “Why did so-and-so publish this when it’s so obviously not a fully realized draft?” I think there has to be an honesty contract between editors and those who submit. I won’t push a story for consideration because it’s just “good enough”, but I’ll advocate for stories that I believe in, from the title to the final punctuation mark.

I love short literary fiction because there are no places to hide; unnecessary information is erased, prose are polished, and a truth about genuine human experience and emotion remain. I search for fearless, relatable, fully-formed stories that keep me engaged from the first sentence to the last. I tend to focus on stories with clean, well-paced writing, attention to detail, sentence variation, as well as situations and interactions that subvert my expectations. E. Annie Proulx writes, “I find it satisfying and intellectually stimulating to work with the intensity, brevity, balance and word play of the short story.” I look forward to working with, and helping put the concise beauties of submitting contemporary authors out into the public eye.

 

 

 

Bio: Student Fiction Editor H. Rae Monk is a Wyoming native and an almost graduate of ASU’s Creative Writing program. When she isn’t reading every book that comes under her nose, she enjoys creating short fiction driven by characters that see the world through the lens of their abnormal vocations. She also enjoys strong coffee, bouldering, traveling on a tiny budget with a big backpack and engaging with her local literary community. Her future plans are constantly changing, but she is considering both MFA programs and jobs in publishing.

Editorial Preferences in Nonfiction: Sophie Graham

When I read I want to be surprised- I want to see something new in the story that I have never seen before. I find myself drawn to more modern writing styles, the riskier and the more artful the better. How the author uses words to describe places, things, people, ideas or feelings is critical. Without art and skill in how a writer describes the concepts of the story, the writing falls flat as I am unable to really imagine what the writer is trying to describe and I can’t engage in the text. The writer should use words in a style unlike what I normally see, so the piece is entirely unique. The idea behind the words should be just as creative and original as the words themselves- I want to be lead to reflect on the piece long after I have finished reading. Presenting some new question, idea, or experience for me to read about always gets my attention.

In nonfiction, the author reigns supreme. You’re the main character of your own story in nonfiction, and it revolves around you. When I read a nonfiction piece, I want as much information and detail about the author as possible from every sense. The more detail and description the author gives in a story the more able I am to fully reflect on the story they just told me. The descriptions should not only be affective and creative- but artful, almost poetic. The more beautiful a piece is to read, and the longer I find myself thinking about it after I finish it, the better I judge the piece to be.

Bio:

Headshot for Sophie Graham

Sophie Graham, Nonfiction Editor for Superstition Review

Sophie Graham is a junior at Arizona State University double majoring in English Literature and Sociology, and minoring in Geography. She is currently the Nonfiction Editor for Superstition Review. She is also a Writing Tutor at the ASU Tutoring Center. Upon Graduation, she plans to pursue her interests in social work and education.