I'll look at 15,000 words approximately of your short stories or flashes, beginning week one, and you can tell me about the others that you've written and want to write, how they relate to each other, your plans for chapbooks and collections, what stage of writing you're at, what kinds of magazines, anthologies, and publishers you would like to see your work in, if you have thought about any of these things. If you haven't, that's fine.
Course is set up with six weekly assignments that apply to everyone, but our experience is customized. We'll email back and forth about your style, themes, where you've been published already if you have, and the best places to look for finding the best venues, some that I can suggest, and a plan of attack for getting your work out to the world. We'll discuss what type of reputation and payment are important to you, whether you prefer online or print or both, how long you want to wait, the difficulty levels of publications you're willing to navigate.
I'll give feedback on the quality of the stories in relationship to your goals and let you know if they're feasible, what you'd need to do to approach those publications by making specific improvements. We'd get your bio perfect for the different stories for the publications you target, make sure you get the manuscript format correct, know how to use the editing tool editors will use when working with your stories, which the editors would edit your work with, help you keep track of submissions, familiarize you with the submission website magazines use, and identify and overcome any punctuation issue patterns that would keep editors from reading the material.
We'll make sure you know the proper protocol for interacting with editors, know the ins and outs of social media in the writing community online and locally, feel comfortable giving readings, such as open mics, make the best decisions when it comes to contests, have reasonable expectations, and can write proper cover letters. I'll show you where to check if the places you want to submit to are corrupt, how to tell which magazines are the most likely to get attention.
There are tiers of magazines, but that doesn't mean the top tier is where everyone wants to publish. We can target the tiers you aim for, and the process of getting there. If you write Genre fiction or Literary, the core of the class applies to both, and it is customized for you individually.
This is a very focused class for the point of publication planning, not in depth feedback or line edits of stories, which I would do in one of my other classes offered in my Online Writing Academy. This class includes audio, video, and text presentations in the lectures as well as our email exchange. There is a quiz at the end, and Certification.
I've had a couple hundred short story publications in magazines and anthologies as well as chapbooks, podcasts, and collections. Some have won honors and nominations. My story genres include Literary, Experimental, Fantasy, Science Fiction, Magical Realism, Slipstream, Weird, Surreal, New Wave Fabulism, Horror, Suspense. I've created several different short story classes I've taught at places like UCLA X Writing Program and edited many people's manuscripts. I've published people's stories in a Literary magazine I ran called Exclusive and in books with my LucidPlay Publications. I was Art Director of Mad Hatters Review where I worked with stories, and was Guest Editor of Medulla Review. I've made good money on stories and books directly and indirectly.
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Tantra Bensko has taught fiction writing for five years through UCLA X Writing Program, Writers College, and her Online Writing Academy as well as teaching through Lit Demon and Villagecraft. She taught writing at FSU, Memphis State, and University of Iowa for six years; she also edits manuscripts. She obtained her MA from FSU and her MFA from the Iowa Writers Workshop.
She has books out from a variety of publishers, the latest a Slipstream novella, Equinox Mirror, from ELJ Publications, and the next due out a Science Fiction novel, Unside, from Driven Press. Her flashes, short stories and novelettes appear in magazines such as Mad Hatters Review, Unlikely Stories, Camroc Press Review, Birkensnake, Fiction International, Journal of Experimental Fiction, Zymbol, Triangulation: Parch, Holdfast, and The Fabulist, and anthologies such as Surreal South, Women Writing the Weird I and II, Ironic Fantastic, Redacted Stories, Not Somewhere Else But Here, and Strange Little Girls. Her poetry and articles are also widely published, such as in Carolina Quarterly, the Iowa Journal of Literary Studies, Entropy, and Literary Orphans.
She lives in Berkeley. She enjoys walking where ever she goes, bird songs, trees, dancing, laughing, studying the machinations behind the scenes in society, foreign arty films, friendships, and her son.