Editorial Preferences in Fiction: Spencer Litman

One of the most important realizations of my life was that people are not one way, that they often do and say conflicting things not out of malice or to deceit, but because it a necessary part of the ever-changing human condition. There is a sort of dialectic behavioral therapy that must take place within all of our minds when we consider that good people can do very bad things and bad people can do very good things. This is the dynamic nature of humanity. It is unavoidable. It might be the only unchanging and shared characteristic of humanity.

And it is for this reason that I am drawn to literary fiction. There often isn’t a clear line between good and bad. The characters in literary fiction make terrible choices and deal with the repercussions. As a reader and editor, I want to read stories that sink deep into these chasms between right and wrong, stories that teach us something about what it means to be fallible and imperfect. I want to read stories that challenge me, that make me so angry I hold my breath until the final sentence, so sad that I think of the characters long after I finish the stories. I want to see myself and my flaws laid out before me. I want to read narratives that do not pass judgement but present a situation and ask me to consider a point of view I may never have arrived at myself.

Literary fiction is a conversation between all of the writers in the world, constantly arriving at theses only to have them blown up and reordered by the next. Show me a side of humanity only you can construct, the things that make your perception unique.

But above everything, I want to feel something. I want to finish a story, let take root in my brain and change my long-held beliefs. Whether it is characters, setting, plot, language, form, it doesn’t matter. The stories that stick with me are the ones that make me think about life in a way I couldn’t or wouldn’t. This is the goal of fiction, and this is the fiction I want to see adding to the literary conversation.  

Spencer Litman is the fiction editor for Issue 23. He is a fiction writer and essayist living in Phoenix with his wife, Kristine, and his two children, Jayden and Aubrey. He is finishing his undergraduate degree in English with a creative writing concentration and hopes to attend an MFA program somewhere cold, with pine needles and snow.

Editorial Preferences in Nonfiction: Ellen O’Brien

There are two qualities that every good nonfiction story – every story that stands out to me, every story that I can’t stop thinking about, that I enjoy rereading again and again – shares, and those qualities are intentionality and subjectivity.

Intentionality is about construction. I want to read stories that are expressed with clarity and ease, stories in which each scene serves a purpose in the narrative and each word perfectly captures the scene the author wants to convey. Intentional writing is simple and unforced. An intentional story has everything it needs to feel complete, nothing excessive, unresolved or unnecessary.

I come from a background in journalism, and the newsroom is where I’ve gotten some of the best writing advice for news articles and for creative nonfiction alike. An editor recently told me: I don’t want obvious details, I want poignant details. Tell me what moved you, what caught your attention: those are the details I want to read. Another editor’s advice: don’t be afraid to declutter a story. Cut scenes or details that don’t serve a purpose or that don’t ‘spark joy’, in the parlance of Marie Kondo.

The second quality, subjectivity, is about content. I don’t just want to know what happened, but how it affected the author. No two people see the same event or person or place the same way, and I want to feel a writer’s unique perspective. I want to know: how was she affected by the events in the story? What relationship does she have with the people and places in the story? Where do they fit in her personal narrative?

Our relationships make us human. We change and define ourselves in relation to them, and we seek connection with and acceptance from them. Our subjectivity makes us human, too. We can never experience what it’s like to be anyone other than ourselves, but stories allow us to imagine and to empathize. That’s what I want out of a good story: not just to know that something happened, but to feel how it affected the person who experienced it.

Ellen O’Brien is the nonfiction editor for Issue 23. She’s a senior at Arizona State University pursuing a double major in journalism and philosophy with a minor in Arabic. She’s passionate about photography, literature, foreign policy and epistemology. After graduation, she plans to pursue a job in photojournalism or news editing and to attend law school.

Editorial Preferences in Art: Shalanndra Benally

Through the process of curating art, I would say that I have gained new eyes for looking at different pieces of work. I can admit that I was never one to look at art in the manner of color, context, and composition before. I mainly base what I like on no other context other than just liking the way things look.

I think art as a medium can be something over saturated with the sheer number of artists, but I believe that I have learned so much. Through this journey I was also able to differentiate an artist from a hobbyist.

Looking at art now, I am finding myself drawn to artists that have a lot of work and specifically work that contains the three C’s. The first aspect I like to look for is composition. I really like to take composition into consideration and make sure that it matches the Superstition Review and what the audience would engage with. Secondly, I like to look into the context of the piece. Not simply understanding what the piece looks like, but taking the time to understand what the underlying theme is or what the piece is trying to say. And of course, taking color into consideration with each piece. All of these elements have helped me understand on a different level of viewing and appreciating art.

With that being said, I don’t particularly have a specific type of art I enjoy, I can look at any piece of work from any medium and still be able to apply what I have learned.

Overall, I am very grateful and pleased that I am able to see art differently. And I will continue to utilize what I have learned as I flourish throughout the art community.

Shalanndra Benally is the art editor for issue 23. She is currently in her first semester of her Senior year at Arizona State University studying Digital Culture with a concentration in Design. Currently she is working on the design team for TEDx at ASU, as well as being the sole designer for the 40th annual Ms. and Mr. Indian ASU. She is always looking for new opportunities to show off her artistic abilities and demonstrate her extensive design experience. After graduation she hopes to work in digital media or another creative field.

Contributor Update, Past and Current Interns interviewed for ASU’s New Innovation Happens Podcast Series

We are proud to announce that past Superstition Review  intern Jessica Marie Fletcher and current intern Jacqueline Aguilar were interviewed for ASU’s New Innovation Happens Podcast Series. The podcast is centered on their work with Iron City Magazine, the innovation the magazine brings, and the positive impact of prison education. Congratulations to the two! Podcast: https://universitydesign.asu.edu/podcast/iron-city-magazine 

contributor update

Iron City Magazine Open for Submissions

Iron City Magazine LogoWe are happy to share news that Iron City Magazine is currently accepting submissions for their third issue.

Iron City Magazine is, as put by Jessica Fletcher — former Superstition Review Intern and Iron City Magazine’s fiction editor — a “journal devoted entirely to writing and art from the prison world.” The journal publishes these works to help show that prisoners are not solely defined by their crimes, but are human also.  Submissions are limited to current and former inmates, prison volunteers, and staff.

The submission deadline is April 15th, 2018.

Iron City Magazine can also be supported through donation here.

For greater detail about Iron City Magazine’s mission and submission guidelines visit the Iron City Magazine’s website.

 

Editorial Preferences in Fiction: John Chakravarty

Reading submissions for Superstition Review allowed me to think about the stories I love to read. I’ve found that the best stories have a character I can connect with, and also an interesting problem.

There are so many elements that can make a piece of writing good. The first thing that comes to mind is characterization, which means creating round characters, with both internal and external struggles, and a full life that exists outside the page. My sister says that when she finishes a good book, she sometimes misses the characters and the time that she’s spent with them. One of my professors will always remind us in class not to say the word character, because writers are actually creating souls.

But it’s not enough to have an interesting character sitting in a room doing nothing. What makes a character truly endearing and relatable is their problems and how they choose to deal with them. Even Nick Carroway and Jay Gatsby without their dramatic love affairs would likely not hold a reader’s attention very long.

This is where I feel we get the human experience: when we read about someone relatable that has a problem foreign to us. Or someone that is completely foreign to us, and how they’ve overcome their problems (or not). Stories are about what a character wants and what they are willing to go through to get it. These struggles create an empathetic connection between the reader and the outside world.

Scientific American recently highlighted a study that found reading literary fiction helps young students to learn empathy. The experiment presented young groups with various types of reading; literary fiction, genre fiction, nonfiction, and nothing. The young readers that read literary fiction were significantly stronger at inferring others’ thoughts and emotions. Through seeing someone else’s trials and tribulations, a person is able to learn better how to interpret other people.

Interesting souls with interesting problems create the basis of fiction that empathetically moves readers. These are the kinds of stories that I love; stories that help to build an understanding of the world around us.

Fiction Editor for Issue 20 of Superstition Review

Bio: John Chakravarty is an undergraduate student at ASU majoring in English and Creative Writing. He is the Fiction Editor at Superstition Review. He also interns at Four Chambers Press reading submissions. When he graduates he hopes to write, edit, and publish for the comic book industry.