A guest post by Sadye Teiser, Editorial Director of The Masters Review
When it is done right, a story told in the first-person plural can hold incredible power. In this craft essay, we take a look at successful uses of this point of view and some of its common pitfalls.
“If the first-person plural tries to be too sweeping, if it does not acknowledge its own subtleties, it can miss the mark.”
Here at The Masters Review, we often see trends among submissions. During any given reading period, patterns emerge: sometimes, there are a remarkable number of stories with surreal elements; lately, we’ve been seeing a lot of pieces about drones; for one anthology, we received an uncanny number of stories that involved fish hooks. One of the most interesting trends to identify, however, is the popularity of specific points of view. For a while, we received an enormous amount of stories told in the second person (and we still get a bunch of these). But what we have been noticing a lot of lately (and loving) is fiction told in the first-person plural. Authors are embracing the collective voice—“us” and “we”—to tell tales about group experience.
A guest post by Kim Winternheimer, editor of The Masters Review
The Masters Review is a publication that focuses entirely on new and emerging writers, offering a quality platform for readers, agents, and editors to discover new voices. In addition to our printed anthology, we have submission opportunities year round including a short story award for new writers, workshops, and a fiction contest running throughout September and October. Nearly all the stories we publish are unsolicited, which means most of our work comes from the slush pile. So how do you make your story stand out? Here’s what we look for when reading stories.
Especially at the beginning of a piece. Assume any story you submit is being read by editors who are also reading many other stories that week, day, or even hour. A difficult beginning is disastrous because it informs the reader’s opinion on the rest of the story, making her less forgiving of small errors or lulls later. The start of your story should read clearly on the sentence level and avoid too much exposition or throat clearing. Our favorite pieces show intention, finesse, and clarity from the start, and introduce the story in a way that is easy to understand, even if the piece is experimenting with structure or other style.
2. A Good Hook
The opening line in this year’s anthology is: “Almost everyone agreed that the death of Rodrigo Bradley had been an accident.” This is a great example of a piece that begins in the action of the story. When reading a large number of submissions, it helps to begin with a plot element that immediately draws readers into the world and has them wondering: “What will happen next?”
3. Productive Ambiguity