In this entry, I will elaborate on some of the things I consider when I read submissions. Of course, it will involve some reiteration of the guidelines which are on the website. I urge
everyone to read them before they submit. (www.crazylitmag.com)
One of my preferences is brevity. I tend to like for the writer to get to the point and write as concisely as possible. To a large extent, my guidelines for length require the writer to be concise. Poems should be 30 lines or less. For short stories and essays, the guidelines say up to 5,000 words, BUT short stories of 3,000 words or less and non-fiction of 1,500 words or less are more likely to be published. I also limit the number of acceptances in each genre (12 poems; 4-5 short stories; 4-5 nonfiction pieces) and the number of
pages to around forty.
I try to publish material that will interest people over fifty, and sometimes topicality is also a consideration, especially in non-fiction. For instance, the July 2009 issue had two non-fiction articles that are topical. Beverly Offen wrote about older women making the decision to go gray, a topic of interest to women, especially since the actress, Jamie Lee Curtis went public with her decision to age naturally without dying her hair. Beckie Miller wrote about “starting over parenting.” She and her husband adopted an infant when they were fiftyish. Her observations and tips are also relevant for grandparents who find themselves taking care of grandchildren–a situation happening fairly frequently these days.
Not everything is directed toward people over fifty though. Writers over age 50 have a variety of interests, and the primary consideration is the quality of the writing. I rather like the idea that much of what I publish might be of interest to thoughtful people of all ages.
Poetry is perhaps the most subjective genre. I tend to like poems that have a point, or as I say in the guidelines, tell a story. One man took me to task about my length guideline for poetry. How, he wanted to know, can you tell a story in 30 lines? Good question. But I believe you can, at least, the way I think of “story.” The story is, of course, elliptical and told through interesting images. I remember reading the guidelines of a literary magazine which stated that “something should happen” in a poem. Maybe that’s a better way to put it. I like a narrative. Here’s one famous poem that is a brief narrative told with lovely images, with a secondary meaning more profound than the scene it portrays:
Stopping by the Woods on a Snowy Evening
by Robert Frost
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easyk wind and downy flake.
The wood are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Poetry should also be accessible, meaning that people should not have to struggle too hard to understand its meaning, but not too sentimental or or hackneyed. Often, it involves thoughtful insights. A special word though about didactic poetry, or poetry that is meant to instruct through its insights: This type of poetry is fine but should also have language and imagery that make it rise above mere instruction.
Humor is welcome, but I do not publish many poems about seniors’ physical problems or “geezer” material, such as the type that circulates on the Internet.
I’m sure there are probably other things I could have said here, but maybe that leaves material for future discussion. You are invited to comment and ask questions.
B. Kussow, Editor