During the month of May, Black Lawrence Press authors Adrian Van Young and Kelly Magee are on board to critique fiction manuscripts; and they are accepting everything from flash fiction to novels. The fees and parameters for each of these categories is as follows:
- Flash fiction, up to 2 pages in length, $25
- Short stories, up to 20 pages in length, $50
- Chapbooks, up to 40 pages in length, $195
- Novellas, up to 100 pages in length, $325
- Short story collections, up to 180 pages in length, $450
- Novels, up to 300 pages in length, $700
All manuscripts should be double spaced and formatted in 12-point font.
The deadline to submit work for this consultation program is May 31. The consultants will complete their work and respond to all participants by June 30.
Space in this program is limited, so please be sure to submit your work soon!
Note: Please do not send manuscripts that promote hate speech, are intended to harass or bully a specific person or group of persons, or include glorified sexual violence.
Kelly's Statement of Purpose
I’m most drawn to stories that have a sense of urgency – that feel like they needed to be written. Discovering subject matter that ignites the imagination is important, as is being willing to take risks with form and content. But channeling and sustaining that urgency is a matter of technique. Sometimes it’s what hovers around the edges of a story that is most vital, or sometimes it’s a matter of finding the right container to deliver the content. I am interested not just in where a story goes, but where else it might go: what submerged themes might surface, what layers might be more consciously developed, what surprising threads might emerge with a few well-placed cuts.
When working with a fiction manuscript, my first goal is analysis: what are the stories doing, what is their ambition, what are the reasons behind the choices and directions they’ve taken. Then I examine how are they working together as a collection/cohesive narrative. I strive to honor the ambition of the story or collection, and then to consider how it might more strongly fulfill its own goals. This can happen at the macro level, by examining plot, structure, character, setting, point of view, and scenes; or at the micro level, by sharpening word choice and sensory detail, attending to the musicality and pace of the sentences, and condensing the language. The work of revision is, as Heather Sellers says, to identify ways to intensify the experience for the reader…whatever that experience might be.
I’m delighted by work that blurs genre, finds the magic in the everyday, and uncovers the “consistent inconsistencies” in each character and setting. I love a story that asks me to sympathize with a villain or second-guess a hero. I am a particular fan of fabulism and fairy tales, as well as realist work of all genres that addresses identity and intersectionality (such as recent work by Kelly Link, Ta-Nehisi Coates, Diane Cook, and Maggie Nelson). In my own writing, I gravitate toward difficult characters and questions, especially as approached irreverently or with humor. I favor active settings that don’t just channel characters’ emotions but influence the plot. And while I enjoy playing with unconventional points of view and experimental forms, my fidelity is always to the well-told story.
Above all, the experience of reading a work of fiction is a relationship between the reader and the text, one built, as Michael Chabon says, on “mutual support through intertwining, like a pair of trees grown together.” My job is to support your text through careful analysis of its aims and pleasures, and by proposing ways to heighten the experience of reading it.