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We have a Book Editor!

We welcome Dr. Rebecca Godwin to the WTF family as our new Book Editor. So, starting with Vol. 2, No. 2, we’ll be publishing reviews. Pretty heady stuff.

Dr. Godwin has great lit cred. Here’s a sample from her (shortened) bio:

Rebecca Godwin, Professor of English and Director of the Ragan Writing Center at Barton College, earned her Ph.D. in Twentieth Century Literature at the University of North Carolina at Chapel Hill.   President of the North Carolina Literary and Historical Association 2011-2013, she is past chair of the North Carolina Writers Conference and serves on the Thomas Wolfe Society Board of Directors and the editorial board of the North Carolina Literary Review.

Her literary criticism and book reviews of fiction, nonfiction, and poetry collections have appeared in Mississippi Quarterly, North Carolina Literary Review, Southern Quarterly, Asheville Poetry Review, Rain Taxi Review of Books, Pembroke Magazine, Thomas Wolfe Review, and Appalachian Heritage.  

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Volume 2, Number 1 is out!

Our last issue has hit the stands … the Internet stands, anyway. We think it is our best yet. Check it out here:

Volume 2, Number 1

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What rejection slips mean

One of our editors, Dean Tuck, ran across this great piece about rejections. We had to share.

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18 April, 2013 · 2:51 pm

Holy Cow! Talk about growing pains

We started What The Fiction in 2011 with the idea of a little journal publishing fine writing on its website. That quickly evolved and advanced and took more time and we added some bells and whistles and we got some nice writing that we published. We also got some nice writing that we didn’t publish, because it was just simply not the type of thing we were looking.

Issue #2 went from a blog format to a nice looking piece published on Issu. Be sure to check it out on our website.

Then, the website got a major facelift. It looks a lot better than the original version

Shortly after that, we opened an account with Submittable, a fantastic submission system for organizer, reading and responding to submissions.

And then, we got our first major growing pain.

Somewhere in all of this action – which of course, the Editor does on the side while working and finishing a terminal degree – Gmail and Godaddy stopped talking to each other. The editor wondered what went wrong. Why, all of a sudden, did no one want to be published in WTF? After all, the journal was listed with the NC Poetry Society, on Duotrope, on the NC Writers Network, and various other writer-friendly sites.

As it turns out, people had been emailing and submitting. We just didn’t know.

We found out when Duotrope got us signed up for an interview. They said they sent an invitation. We didn’t get it. So, the Editor spent an hour or two tweaking kicking around and then clicked and edited and reset all of WTF’s accounts. Voila! We got a dump of 661 emails. All at once. We won’t say how many submissions were in there, but it will take uh, some time, to sort through them all.

So, we’ve been sending emails, and apologies. The Editor is used to apologizing, but 50 in one day had to be some kind of record. And that’s not all.

The good news is, the bugs are worked out and we love to read. So send us stuff! Issue #3 will be out in the next 30 days and we’re already reading for Issue #4 which will feature book reviews for the first time. We’ll have an official Book Editor announcement soon, and we’ll post that here and on the website.

Thanks for following us, and hang in there with us. We’re just getting started.

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Okay, so we’ve been a little slack on the blogging …

… but we are still here. We are holding up Issue #3 as we collect new submissions. We are particularly in need of creative nonfiction this time around, but we could still use some fiction and poetry. Don’t keep waiting, go ahead and send us your best.

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Adjusting the submission period for Issue #3

We want to see more submissions before we close down to create Issue #3. We’re loving the new design and have gotten great feedback. We also want to make sure we put the best work possible out there. So, consider this an extension, a calling if you like — for you to get your best work submitted to us. We’re looking poetry, fiction and creative nonfiction. Hit the website for specifics!

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Austin Hart on “The Persistence of Memory”

“The Persistence of Memory” found life, as all my writing does, through a kind of erosion. My poetry, however, is often constructed through ideas and feelings as I see them occur day-to-day in the lives of others, or as I see them through myself; struck by images and emotion, I (like so many) desperately search for the right words. I’m intensely attracted to sound and rhythm in language, music, and other forms of art— indeed, Rilke said that [even] “architecture is frozen music.” I often find myself using poetry in trying to figure out the world through relationships of various kinds, the effort to be, questions of belonging, and the things we put in place of the things we lose.

This poem was inspired by Billy Collins and the way many of his poems move about the narrative space; I’ve always been fascinated by his playfulness in many of his pieces, and though he may not be a highly-respected academic poet, he is still a highly-respected poet, and his work is well-worth some exploration. What I tried to replicate with my piece is the grace and feeling of his “signature” narrative movement. As the reader moves through the piece, they start out with one image, but that is contradicted shortly after as the whole scene builds. It seems much like a jarred collection of water, be it a puddle, in a cup or tub, etc—the shimmering and turbulence of the surface disrupts a clear reflection, but with time and patience it slowly clears up.

I am not only a music fanatic—something I hope shows through my work more than any direct references to musical equipment or musicians—I am quite interested in Cognition (how the mind works). This interest helps me as a teacher in many ways, but I have seen it manifest in my creative work as well; in this particular piece of poetry, it
shows up as a questioning of not only how memory works, but also how music and memory are related. Oddly enough this piece was originally created in the form of a Sonnet, but the idea and feelings contained within the piece simply didn’t suit the form in any reasonable sense. This was my 6th or 7th draft, but I finally found (what I hope my
readers feel) a satisfactory approach.”

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