These days, I do quite a bit of writing on Medium at https://medium.com/@katharinevalentino/. Please see the About section there for my bio, and please review my most recent creative nonfiction and political and self-help articles. Writing is a lonely endeavor; I'd like to be part of a community of writers who can provide constructive criticism I can use to do my best work. I will give equal time to other writers' work.
The Montreal Review offers long-form critical essays, book reviews, commentaries and interviews, photo essays, short stories, and poetry. It is illustrated with contemporary and classic art by Canadian and international artists. Among the magazine contributors are Pulitzer Prize winners, thought leaders and opinion makers, world-class journalists and academics. The Montreal Review welcomes unsolicited submissions of book reviews, long-form critical essays, and literary non-fiction.
We give priority to book reviews and long-form critical essays in philosophy, art, literature, history and religion. We also accept texts in political and economic theory, environment and ethics.
the museum of americana is an online literary review dedicated to fiction, poetry, nonfiction, photography, music, and artwork that revives or repurposes the old, the dying, the forgotten, or the almost entirely unknown aspects of Americana. It is published purely out of a fascination with the big, weird, wildly contradictory collage that is our nation’s cultural history. Issues appear three times a year, in the winter, summer, and fall.
We seek work that engages or repurposes America's complex cultural history—original & unpublished fiction, nonfiction, poetry, book/chapbook reviews, interviews, music, photography, & art. Give us fiction that dramatizes old folk songs or steals their characters—give us love poetry with language cribbed from The Federalist Papers. Recent features: fiction on the 2008 financial crisis via Bartleby the Scrivener; essay on the family legacy of tomato-growing, and a personal essay on Annie Ross and "Twisted."
Experimental poetry and visual art.
Poems published demonstrate how sharp and flexible language can be. The focus is on experiments in line (and sometimes form). Includes reflections on experiments and book recommendations from the authors published in each issue.
We are dedicated solely to novel excerpts. These pieces should feel like they come from novels we want to read—they may pop us into the action and leave us hanging at the end. Each issue includes 6 winning excerpts from our two annual contests (January to February, and October to November).
Each issue has a guest judge. Look at their novel(s) for an idea of styles they may be most interested in, but remember that we also push our judges to look at all genres and styles!
Oregon Humanities is a magazine about the experiences, ideas, and beliefs of Oregonians. In each issue, Oregon writers, artists, and readers explore diverse perspectives and challenging questions relating to the place we live and the people who live here. Oregon Humanities is a magazine of many voices. It embraces collaboration, learning, and multiple ways of knowing. It rejects simple explanations and single answers. It respects expertise and affirms that everyone is the leading expert of their own experiences.
Each issue of Oregon Humanities is themed, and we only consider submissions that relate to the theme. Read our current call for submissions at http://oregonhumanities.org/rll/magazine...
We generally only publish work by Oregon residents.
Hello, dear reader of my bio, I'm glad you stumbled upon my profile. I'm mainly looking for a group to bounce ideas off of and connect with about writing. All genres and formats are welcome, though, I'll admit, I'm rather partial to literary fiction and short fiction.
I'm a late bloomer to dedicated writing. In July 2021 my first collection of poetry will be published. I tend to write pulling from my ancestors spirit's of trauma and marginalization. I often write about what haunts me.
I wrote and published books and articles on the political economy of hunger for twenty years and have now crossed over to fiction... a healthy, but difficult, transition. My present project is a novel of historical fiction based on the diaspora of my own family as they fled fascism and poverty, and confonted the Great Depression, the Spanish Civil War, WWII, and, eventually their own "success" in postwar USA. Set in Navarra, Madrid, Puerto Rico, Germany, New York and California, it spans five generations and is recounted in an interwoven series of imagined, first person reflections by real family members while on their deathbed. I intersperse these with my own reflections, which are chapters that read like short stories. This project has required significant historical research, extensive family interviews, and lot of pure invention as I fill in the gaps of what I don't know--which is significant.
I would like to share passages of this work-in-progress, as well as read and comment on the work of othersin the writing group. While the project could use advice on structure and voice, more than anything, I just need to know if the characters are as real to the reader as they are to me. Since the book is a mix of fact and fiction, I also need to know when the facts are getting in the way of the story. Any and all critiques on style will be gratefully accepted.
I was a good writer of non-fiction. I'd like to become a good writer of fiction.
I write poetry and lyric essays, mostly about the natural world and environmental issues. Occasionally, about political topics. I'm interested in exploring types of sentience, the meaning of "presence," and the intersection of science and spirituality--as well as the upheavals of climate change.
My fiction was published in The Kenyon Review (years ago.) Most recently, I was the featured poet of the month in the Kosmos Journal newsletter https://www.kosmosjournal.org/news/featu....
I have an MA but not in creative writing. I've taken several university writing courses, participated in two ongoing writing workshops and enjoy working supportively with others to deepen our work and make it shine.
Originally from the U.S., I now live on a working-toward sustainable farm in the northern highlands of Tanzania. We're on the edge of a forest where elephants wander (as do I when they are not around.) Given the distance and time zone differences, my participation is limited to online workshops at feasible times.