Interim Online Journal

  • Interim Online Journal

    Interim seeks writing that engages the perilous conditions of life in the 21st century as they pertain to issues of social justice and the earth, writing that demonstrates an ethos that considers the human condition in inclusive love and sympathy while offering the same in consideration of the planet.

    Because we believe that the truth is always experimental, we especially appreciate work with innovative approaches.”

    Submissions are welcome from 1 June-1 September and from 1 December-1 March.

    “We appreciate your continued interest and support and look forward to spending time with your work.”

    Submissions end September 1, 2019:

    Poetry

    Essay

    Translation [Poetry and Essay]

    Artwork

  • Freewrites: Opening Doors to Discoveries

    Notes from Marlene Cullen’s talk about freewrites. Scroll down for links about how to use freewrites and how to write about difficult subjects without adding trauma.

    I gave a talk about freewrites at the Redwood Branch of the California Writers Club. I’m sharing my notes so you, too, can enjoy the freewrite method of writing.

    I love freewrites because they are so . . . freeing. Freewrites can open doors to discoveries.

    I was thrilled to discover freewrites, unlike short story and novel writing, this was something I could do. I hope these tips help make your freewrites fun and successful in inspiring your writing. 

    What is a freewrite?
    A freewrite is writing spontaneously with no thinking. Just putting down word after word, with no worries about spelling, punctuation, how it will sound, and no worries about the final product.

    Sometimes when you are engrossed in your writing project and the writing is coming easily . . . that’s like a freewrite. The difference is that, with a freewrite, there is no end goal in mind.

    With a freewrite, you can write about what happened to you, what happened to someone, else, or you can write fiction, poetry, whatever comes up during a freewrite is fine. . . as long as you keep writing and don’t stop to think. Thinking is bringing the editor in and this isn’t the time for editing nor censoring.

    Sometimes, with a freewrite, it’s the process, not the product.  

    Freewrites can be used to understand and work out things that are puzzling or disturbing or annoying. Sometimes it helps to write about something in order to understand it.

    One way to start a freewrite is to use prompt: A word, a line from a book or a line from poetry and write from there. You can also use a visual item as a prompt.

    One of the things I like about freewrites is the freedom to write whatever you want about any topic. Ideally, with no worries about what your writing sounds like . . . no worries about the outcome.

    If you don’t want anyone to read what you’ve written, you can destroy your writing. Or you can save it in a secret place. But you have to remember where that secret place is!

    Another thing I like is that since freewrites are very rough first drafts, it doesn’t matter what the writing is like . . . it can be fragments, or unrefined ideas, or mental doodling set in writing.

    The challenge of freewrites is getting out of the way of yourself.

    During a freewrite, let your writing flow with no judging.

    What about that inner critic that we all have?

    When you are in the zone . . . in the groove of writing . . . there is no space for the inner critic to hang out.

    With freewriting, it’s just you and your creative mind playing with words.

    Let go of your worries about your writing.

    If you can talk . . . if you can think . . . you can do a freewrite.

    One way you can use freewrites is to get past roadblocks in your writing . . . whether fiction or non-fiction.

    If you are having a problem transitioning from one scene to another, or you are having trouble getting a character from Point A to Point B, do a freewrite.

    As you begin a freewrite, relax your mind . . . have no expectations about the outcome. This is play time.

    It’s the “What if?” game. What if this happens or that happens? What if your character says or does this or that? Play around with the possibilities.

    You don’t have to use any of your freewrites in your final scene. But you may generate ideas that you can use. Be open to the possibilities.

    How to be successful with freewrites.

    Let go of your ideas about what perfect writing means.  Give yourself permission to be open to whatever comes up during a freewrite.

    You can think of freewrites as making discoveries.

    Take deep breaths as you begin and then relax into your breathing and let the writing happen.

    When you are writing in this free style, you are not writing for an audience. You are giving yourself the gift of writing for yourself.

    During a freewrite, immerse yourself in your writing. Write at a place and a time where you won’t be interrupted.

    Let go of your worries and just write.

    Write to satisfy your desire to go to a meaningful place in your writing. You get to decide what that means.

    During a freewrite you can go deep into the recesses of your mind and really write.

     It’s okay to start with gut level feelings or to get to gut level feelings. It’s okay to go for the jugular as Natalie Goldberg says

    As you write, you might notice discomfort, especially if you are writing about an uncomfortable experience or about a difficult memory.

    When that happens, gently put your hand where you feel the discomfort. If you can’t put your hand there, put your thoughts there . . . your loving, caring, patient thoughts.

    When you are feeling uncomfortable, you can either stop writing and come back to it later. Or, work through it.

    To work through it, have a focal point, something you can look at that will remind you to breathe deeply.

    If you know you are going to write about a difficult subject, have a plan before you start writing.

    When the writing gets tough: Look out a window. Walk around. Look outside. Take a sip of water.

    When writing about a difficult subject, let the tears come, let your stomach tie up in knots. It’s okay to write the story that is challenging.

    Get through the barriers to go to a deeper level.       

    See your story and tell it.

    This is a lot of information. Let’s take a deep breath.

    More ideas for successful freewrites:

    When you are writing, if you run out of things to say, write down, “I remember. . .” and see where that takes you.

    Or write, “What I really want to say . . .” and go from there.

    Writing Prompt

    Let’s try a type of freewrite now.

    Get comfortable.

    Relax into your chair.  Both feet flat on the floor.

    Rotate your shoulders in a circle. Opposite direction.

    Rotate your head in a circle. Opposite direction.

    Bring your shoulders up to your ears. Let them down with a harrumph sound.

    Escort your inner critic out the door. Shoo! Good-bye.

    Give yourself permission to be open to whatever comes up.

    Take a deep breath in. And let it out.

    Go back in time to when you were 4 or 5 or 6 years old. See yourself at this age. Perhaps you can see a photo of yourself at this young age.

    Now, we’re going to travel up in time, starting with a memory of when you were 4 or 5 or 6.

    As we do this, pause when you feel energy. You might feel a flutter in your stomach. Or a tightening in your jaw. You might feel a constricted throat. Notice as you travel through your memories where you have a physical reaction. Stop there. Pause. Think about that time. If you want, you can put your hand on the place on your body where you feel this energy. If you can’t put your hand there, put your thoughts there.

    Deep breath in. Let it out.

    See yourself when you were twelve.

    Another deep breath in. Release. Let go.

    See yourself at 16 or 18.

    Remember when you were a young adult, early twenties.  Mid-twenties.

    Choose one of the memories you just thought about that brought a strong physical reaction. The reaction could be joy, pain, pleasure, or discomfort.

    Choose one event, or experience, and think about what you were like before this event happened. Then the pivotal event happened and you weren’t the same after.

    Drill down to the precise moment the pivotal event happened.  Look closely, like looking through a microscope or a telescope.

    See the details of where you were, who was there. What happened?

    Write about it now . . . Freely . . . with no thought of the outcome. No plan to ever share this writing. Just write.

    When you are finished writing.

    Breathe. Take a deep breath in. Release your breath. Shake out your hands. Stretch.

    Take a moment to transition from writing to being back in the room.

    LINKS

    What is a freewrite?  Why should you do it? How is it done?

    Get Started. How to use writing prompts.

    Don’t think. Don’t plan. Just write.   

    Don’t think. Don’t plan. Just write.   

    More about freewrites.

    How to write without adding trauma.

    Writing about difficult times.

  • Green Hills Literary Lantern Submissions

    Green Hills Literary Lantern is published annually, in July, by Truman State University, Kirksville, MO.

    GHLL welcomes work from established writers as well as from less experienced writers.

    Historically, the print publication ran between 200-300 pages, consisting of poetry, fiction, reviews, and interviews, and was printed on good quality paper with a glossy, 4-color cover. 

    The digital magazine is of similar proportions and artistic standards.

    GHLL reads submissions year-round, and published a new edition in June/July. Reporting time 3-4 months. 

    Writers are strongly urged to read several sample issues in order to learn what sorts of things GHLL prefers. 

    GHLL Submission Details:

    “What do we like? There are stories I read thirty years ago and still remember. We try to find that sort of thing and publish it. Sometimes it’s a compelling dramatic situation that grabs us by the throat in the first paragraph and won’t let go till the end: Frank O’Connor’s “Guests of the Nation” asks us to imagine what it’s like to be a basically decent sort of person who takes hostages and kills them. We’re not much for alt-worlding, but really good fiction can and does get set in realms that do not exist: you wake up one morning and discover you’ve been transformed into a large insect. Deal. Might be a poignant character we can’t forget, like the protagonist of Joyce’s “Araby,” even if what we remember is profound dislike (“This is My Living Room”). Maybe a setting, like the town in Lardner’s “Haircut.” And maybe it’s style, or a philosophical conundrum given intense emotional embodiment. LeGuin’s “The Ones Who Walk Away from Omelas” scores high on both. We’re not crazy about the Big Reveal and the Twist Ending, mere cleverness. Faulkner’s “A Rose for Emily” endures in spite of, not because of that stunt. Very unlikely to publish overtly inspirational material, or genre stuff that doesn’t do anything particularly interesting with the conventions and stage-machinery. We like craft; Alice Walker’s classic “Everyday Use” has everything, including a genuine MacGuffin.” 

  • Worries

    Do you write personal things in your journal?

    Are you able to write what you are really thinking?

    Do you worry about writing something too personal? What if someone finds your notebook and reads it?

    Yes, someone could find your notebook and read it and . . . what? Think lesser of you? Find out what you are really thinking? Would that end your relationship? Or, perhaps change it?

    You could go through life worrying and not doing what you really want to do for fear of what others might think.

    Or, you can trust that your need to express yourself through writing is more powerful and more important than these worries.

    You can burn or destroy your notebooks every so often. But then you wouldn’t be able to access these precious memories that you archived.

    Simple solution: Keep your notebook in a safe place. And trust in the process.

    I’m in the process of reading through twenty years worth of journals. When my daughter heard that I was going to destroy then, she protested. “No, keep them. We’ll want to read them.” Oh. Really? Um . . . about that . . . I wouldn’t want anyone to read everything I’ve written over the years.

    I reached a compromise. I’m tearing out pages I don’t want anyone to see. The tame stuff, the creative stuff, are available for others’ perusal. But the personal stuff? Going, going, gone. Like the dandelion seeds that disperse and float in the wind.

    After all, in my journals, I’m writing for me, not for an audience. But I do understand and agree with my daughter, some things should be written, remembered, and in a way, memorialized. These precious memories are to be shared. But the writer gets to choose what is shared.

    So, keep writing and share only what you want to share.

  • Apparition Lit

    Apparition Lit is open for poetry and short story submissions four times a year. 

    February 15-28

    May 15-31

    August 15-31

    November 15-30

    Submissions received outside of posted open dates will be deleted unread.

    2019 Themes:

    Retribution (Submission period May 15-31, 2019)

    Euphoria (Submission period August 15-31, 2019)

    Apparition Lit also holds monthly flash fiction contests. These stories will follow selected themes and be published online.

    APPARITION LIT

    Apparition Lit is seeking original, unpublished speculative fiction that meets their quarterly theme. Speculative fiction is weird, almost unclassifiable. It’s fantasy, sci-fi, horror, and literary. They want it all. Send your strange, misshapen stories.

    Send stories with enough emotional heft to break a heart, with prose that’s as clear and delicious as broth. They are looking for proactive characters and beautiful language, all wrapped up in a complete story.

    Diversity is as important in fiction as it is in real life. They want a mosaic of stories, from authors of all identities and walks of life.

    PAYMENT:

    Apparition is a semi-pro rate magazine, paying $0.03 per word, minimum of 30.00 dollars (excluding flash contest). If we accept your story, we are purchasing the right to publish the story online and in the quarterly edition. Rights will revert back to the artist after one year.

    Submission Guidelines

  • Writer Advice: Flash Fiction Contest

    Lynn B. Goodwin is the creator and producer of Writer Advice.

    Writer Advice’s Flash Fiction Contest 2019 Submission Information

     Writer Advice seeks flash fiction of 750 words or less.

    “Open our eyes. Help us see the world as your characters do.”

    Finalists receive responses from all judges.

    Everyone receives a detailed response from award-winning author B. Lynn Goodwin.

    What is Flash Fiction? 

    For Writer Advice, it is a story of 750-words or less that has a protagonist, a conflict, a setting, excellent use of language, and an ending that we didn’t predict when we read the first line. We enjoy stories with a discovery, complex characters, lovely language, and a tone that rings true. 

    PRIZES: First Place earns $150; Second Place earns $75; Third Place earns $40; Honorable Mentions will also be listed.

     Submission Details

     The contest closes on June 1, 2019

  • Birdland Journal ready for your writing.

    Birdland Journal offers a home for fiction, flash fiction, poetry, and creative non-fiction from established and emerging writers.

    The theme for this issue is “A Matter of Character.” Take this where you want to. Besides a character in a story, how about considering the character of a people or place? Take character out of the box. It might be a person, or an animal or an inanimate object.


    Deadline: April 15, 2019

    Open to Northern California residents only.

    Previously published material not accepted, including publication in any venue: print, web, and personal blogs.

  • One slice of the point of view pie

    There are many articles and books about point of view. The following is an excerpt from a talk given by author Jim Dodge.

    Narrator – Who tells the story.

    The most used pov: First person and third person.

    There are three types of first person point of view.

    First person direct.

    First person indirect.

    First person objective.

    First person direct: Protagonist carries conflict and is usually involved.

    Direct – “it happened to me.”

    When narrator carries conflict = direct perception.

    This is the most difficult point of view to work with – has to be compelling voice to hold readers’ interest.

    If you can pull it off, it’s powerful.

    Stories move in time and space.

    Problems with first person point of view: person has to be “everywhere” to get information.

    First person indirect: Reflective, or indirect: narrator does not carry conflict. Narrator is a character and in a relationship with the protagonist.

    Problem with this pov is that you can’t report what happened unless narrator was there.

    Examples: Herman Melville’s Moby Dick – you would have to be in the boat to tell the story.

    One Flew Over the Cuckoo’s Nest – you would have to be in the insane asylum

    Arthur Conan Doyle’s Sherlock Holmes series uses the buddy pov narration for these detective stories.

    Setting plays in it.

    In this pov, the narrator and protagonist are joined at the hip, a close friendship.

    The point view is not from the main character.

    The idea is that “someone else could tell the story.”

    For example, Watson tells Sherlock Holmes’ story.

    Split point of view – Two or more narrators. They can tell the story from their point of view in a strict rotation, in a sequence, or randomly.

    First person objective: The third type of first person pov is detached and tells the story like a transcript of the events that happened. The narrator never discloses anything about what the characters think or feel, remaining a detached observer.

    The Laughing Man by J.D. Salinger tells the story from an unnamed narrator.

    Second person point of view: You.  Rarely used, common in poetry.

    Third person pov: He/she/it/they.

    It’s easy to move in space and time to tell the story when using third person. This is the most flexible point of view.

    Omniscient narrator: Has attributes of God. Omnipotent: all powerful, present everywhere. Knows anything and everything about characters.

    Omniscient narrator has full access to any character at any time (past, present, future).

    Omniscient narrator can comment on what characters are doing and on their patterns of behavior, movement, thoughts.

    Your turn: Decide on a subject and write from an objective point of view. Describe the scene as a camera would record it. Write what the camera lens sees and hears (if it’s a video camera, or a phone recording). Describe the scene like a screenplay. You can’t write what the characters are thinking (the camera can’t see or hear this).

    You can show the characters’ emotions with body language and physical gestures (what can be seen) and with dialogue (what can be heard).

    Need a topic to write about? Choose one of the prompts on The Write Spot Blog.

  • Natural Bridge invites submissions

    The editors of Natural Bridge invite submissions of poetry, fiction, personal essays, translations, and art.

    From the Natural Bridge submission page:

    Because we are tied to the academic calendar, we will not read between May 1 and August 1.

    Submit through Submittable

    There is a $3.00 charge for non-subscribers to submit. This is not a reading fee, but helps maintain the submission service and website. This fee is waived for current subscribers.

    We will continue to accept submissions free of charge through snail mail.

    Submissions sent by email will not be read.

    A few Guidelines.

    We do not accept previously published work. This includes self-publication and work that appears online.

    Poetry submissions should be limited to one manuscript of up to six poems at one time. Poems should include the author’s contact information on every page, be clearly titled, and be paginated if longer than one page.

    Prose submissions should be limited to one story or essay at a time. Subsequent pages should be numbered and include the author’s name.

    We are currently interested in art in JPEG format. Submit up to 5 pieces for consideration. Most of our art is printed in black and white at this time.

    Please submit to only one genre at a time.

    As with most literary journals, it is recommended that you view a copy of Natural Bridge before submitting.

    Upon publication, the author will receive two copies of the issue with his or her work and a one year subscription as payment.

  • Another reason to Just Write!

    “Studies show that writing by hand, rather than typing, improves information processing as well as the ability to remember what you’re writing about.

    Take your learning to the next level by using your brain for what it does best: fusing existing and new information. . . . Crack open a book and once you’ve finished it, write a Goodreads or Amazon review. You might be surprised at what you come up with while mulling it over again.” — “Brain Fitness,” November 2015 Real Simple magazine.

    Note from Marlene: You will be helping authors and improving your brain fitness at the same time when you review a book and post on Amazon or Goodreads.

    And if you are inclined, consider writing a review of the Write Spot Books and post on Amazon.

    The Write Spot to Jumpstart Your Writing: Discoveries

    The Write Spot to Jumpstart Your Writing: Connections

    The Write Spot: Reflections

    I will be very appreciative and you will be rewarded . . . somehow, some way!