Introducing our “Reader Spotlight” series, where we shine a light on the unsung heroes behind the scenes—our dedicated readers who meticulously screen and evaluate literary journal submissions. In this series, we delve into the world of these discerning individuals, exploring their insights, experiences, and the invaluable role they play in shaping the literary landscape.
As stewards of quality and creativity, readers of literary journals possess a unique perspective and a keen eye for talent. Through these interviews, we offer a glimpse into the minds of these literary curators, delving into their passion for literature, their approach to evaluating submissions, and the challenges and rewards of their role.
Discover the stories of these literary aficionados—their favorite genres, memorable submissions, and the intricacies of navigating the vast sea of literary works. Gain insights into the inner workings of the submission process, learn about emerging trends and voices in the literary world, and uncover the secrets to capturing the attention of discerning readers.
Join us as we celebrate the indispensable contributions of our dedicated readers, whose dedication and expertise ensure that only the finest literary gems grace the pages of our journal.
Joanna Theiss is a writer and Five South Reader/Associate Editor living in Washington, DC. Her short stories and flash fiction have appeared in journals such as Peatsmoke, Bending Genres, The Florida Review, Anti-Heroin Chic, Fictive Dream, and Best Microfiction 2022. Before devoting herself to writing full time, Joanna worked as a lawyer, practicing criminal defense and international trade law. You can find book reviews, links to her published works, and images of the collages she makes from tiny squares at www.joannatheiss.com, on Twitter @joannavtheiss and Instagram @joannatheisswrites.
Can you share a specific piece from the slush you were particularly passionate about? What drew you to it, and what made it stand out for you?
“The Bear,” by Francesca Leader. The narrator’s teenage angst was oozing out of every line, and the tension built and built until an explosive ending. It’s the story that will stay with me for a long time.
What elements or themes do you find most compelling when evaluating submissions and likely to catch your attention?
Stories featuring complex relationships where a lot goes unsaid but simmers below the surface. The delicate use of magic to sharpen a part of life that I might otherwise take for granted.
Are there any particular literary styles or genres you are drawn to as a reader? How do these preferences influence your selection process?
I read a lot of different genres, and wouldn’t say there are any genres I avoid: as long as a story is well told, it will suck me in. When it comes to reading literary journals, I’m especially drawn to flash, usually around the 750-1,000 word mark. Before I started reading and writing flash, I never would have guessed how much characterization and drama can be squeezed into so few words. Flash writers figure out all sorts of ways to capture a mood, and I love to read their work both for the story and the craft.
What role do personal experiences and biases play in your decision-making as a staff reader? How do you navigate these factors to ensure fair evaluations?I think it’s impossible not to bring personal experience and biases into reading, but I do think we can avoid acting on knee-jerk responses. My strategy for navigating these factors is by moving slowly. I will read a piece, then pause, sit with it, then read it at least once more before deciding. I use Nisi Shawl & Cynthia Ward’s Writing the Other as a guidebook for writing and reading about characters who aren’t like me. I highly recommend this book – it’s a wonderful resource.Another example is when I come across pieces which reference a show, movie, or pop culture moment I don’t know much about. If the language is beautiful and the story is compelling, I will get past my unfamiliarity to evaluate the piece on its own merits. I will research the topic, to the extent I can, and think about whether it would make sense to a person who had no clue about the source material. However, I think writers who rely heavily on lesser-known pop culture references make their jobs harder – the writing has to be amazing and readers and editors have to know enough about the reference to make the story or poem work.Have there been instances where you advocated for a piece that other staff readers were unsure about? What was it about that piece that made you champion it?I haven’t had the opportunity yet, but I will always champion pieces that I think the world needs to read.Conversely, can you recall a time when you had to let go of a piece you personally loved because it didn't align with the journal's overall vision or theme?Yes. It was on a subject matter with which I’m obsessed, but I knew it was pretty esoteric and might not capture everyone’s attention like it did mine. I was glad to have read it, but I was comfortable letting it go.How do you balance selecting pieces that align with the journal's identity and taking risks with innovative or unconventional submissions?A nice thing about Five South is that it’s very open to experimentation and innovation, so I don’t feel constrained by this.In your opinion, what distinguishes a truly exceptional piece of writing from a good one? Can you provide an example from the journal that embodies this excellence?When a piece subverts expectations. When I make assumptions about where a piece is going, especially if the characters feel knowable and the scene is easy to conjure, and then the writer chastises me for those assumptions. Laura McPherson’s story “Solanum” achieved this trick so well, and with a huge helping of humor, too.When you face a submission that challenges your personal beliefs or pushes boundaries, how do you approach it, and what factors influence your decision on whether to move it forward or reject it?I want my personal beliefs to be challenged. I’m more likely to move a piece forward when the writer is saying something that’s new to me. I am open to pretty much anything, so long as it’s not hateful.As a staff reader, how has your journey as a writer or reader evolved through the experience of curating content for Five South? Have there been any significant revelations or changes in your perspective?Yes!I have been reading so much more poetry than I did before, and this helped me understand that poetry doesn’t have to be intimidating or highly rules-based to be successful. Because of that, I’ve been experimenting with writing poetry for the first time.Reading for Five South makes me notice undercooked writing more than ever before, and to see this in my own pieces. If a writer hasn’t put in the time revising a piece, really thinking through every word, the story suffers. I pick up on the writer’s impatience to be done, because I experience this while revising, too.I’ve also discovered how much I enjoy reading when I can feel the writer’s passion for the theme, compassion for their characters, and rich descriptions of the place through which the characters move. This inspires me to write about what I care about, instead of trying to conform to what I think I should be writing about.Overall, reading for Five South has made me appreciate how many writers are out there, sharing themselves on the page. It makes me feel less alone as a writer.