Long Exposure Magazine has now been publishing for 2 years!
During this time the magazine has been fortunate enough to publish a fantastic range of poetry, photography, visual art and critical work from around the world. Many thanks to each contributor and reader who has been involved so far.
Issue 4 will add sharp and engaging short fiction to this output, featuring more writers and artists than any previous issue.
These are exciting times as we look to expand the magazine and above all promote high-quality creative work and those who are producing it.
Long Exposure Magazine is now offering feedback and guidance on a selection of your poetry. For an introductory fee of £10 you will receive rigorous feedback and editorial advice on a set of up to 5 poems through e-mail correspondence.
Editor Daniel Williams holds undergraduate and postgraduate degrees in literature and creative writing and has published poetry widely on-line and in print, including at Cadaverine, Ink, Sweat, And Tears, and Envoi. Alongside his work in editing and publishing, he has experience of teaching creative writing in a variety of contexts, from local community to university level.
Make your payment below and the editor will contact you to receive your work and begin your tutoring session. Any enquiries can be sent to email@example.com.
Further opportunities at Long Exposure Magazine.
Long Exposure is looking to put together a list of artists to work with frequently who can respond to the writing published in the magazine, through painting/illustration, photography and other visual art forms, to be featured alongside the creative writing pieces in each issue. This is an opportunity for regular publication and promotion. If you are interested in this project please contact firstname.lastname@example.org with a brief introduction and a sample of your work or links to some examples. You can see the type of work the magazine has published so far here.
For the next issue, Long Exposure is opening up submissions to fiction, specifically very short fiction of 700 words or less. In previous issues we explored traditional short forms such as the haiku (Issue 2), and how an economy of language and sharpness of observation can heighten the impact on the reader by using a minimum of words.
Definitions for this type of fiction are various, and as such our criteria are broad. Whether your pieces lean towards a fluid and poetic style or want to focus on delivering an engaging narrative in a tight space, we would love to read your work.
As usual we are open to poetry submissions on any style or theme, but with a particular interest in the Ekphrastic genre or work which combines text and image, as well as to photography and art work and collaborative projects between writers and artists.
See previous issues for the type of work we have published to date.
If you have an idea for an essay or article, particularly on the relationship between creative writing and the visual arts, contemporary poetry and poetics, or the arts in education and society, contact the author to discuss.
All submissions and enquiries to: email@example.com
Full submissions guidelines.
We look forward to hearing from you!
The new edition of Long Exposure Magazine is now available!
Featuring an international selection of new creative writing, photography and visual art.
Access it here:
Long Exposure Magazine, Issue 3, July, 2016.
We hurtle into a long tunnel:
windows reveal nothing beyond
reflections: people, red upholstery,
and windows reflecting the reflected.
In a magazine left on the table
among coffee rings, NASA reports
a rocket: to launch a moon crew,
using a single five-segment booster.
Astronauts will build lunar outposts,
pave the way for journeys to Mars;
its south pole will provide water, ice
and abundant sunlight for power.
The steward sways along the aisle
rattling refreshments on a trolley;
passengers drink, read, doze; trust
steel lines, solid earth, unseen driver.
We shoot out of blackness – where
blocks of flats loom higher than
street lamps and trees’ winter skeletons –
into the light of a yellow moon.
First the stars
blocked in canary yellow
the stars are made of glass
next the mountains
deckled cool blue, an organic horizon
the mountains hiss of fear
next the desert
dunes ruched in ochre red shadows
the desert is the story of landscape
then a pitched tent – last onto the paper
solid night silhouette
secure enough to withstand a storm
where we recline on foreign bedding and listen in
to the unprinted white spaces and
ink the future.
For more of Jane’s work keep updated with Long Exposure Magazine, Issue 3, forthcoming.