By Carol Smallwood
Justin Hoffman is the editor of FreightTrain Magazine.
Carol Smallwood: Please describe your work with FreightTrain Magazine.
Justin Hoffman: My work at FreightTrain Magazine consists of everything that needs to be done, from reading submissions to editing, from the web programming to story posting. It’s a small operation that I do in my spare time right now. The project is done out of love for reading and writing. It’s one way I can do something more for the author community.
C.S.: Tell us how FreightTrain Magazine came about.
J.H.: FreightTrain Magazine was something I wanted to do for a long time, so I took a small press publishing course in college. As you can imagine the point was to create a small press. I choose to create the fiction magazine I had been dreaming about for years. Ever since I have rarely been able to stop working on it.
C.S.: What writers have influenced you the most?
J.H.: Here’s a really short list: Stephen King, F. Scott Fitzgerald, Don DeLillo, Philip Roth, George Orwell; I could go on forever, but I’ll stop there. The two that probably influenced me the most are Stephen King because he made me believe I could write, and F. Scott Fitzgerald because he’s the one I wish I could write like.
C.S.: What are the most common writing mistakes you see?
J.H.: Punctuation. I see a lot of novice author’s work. They mostly stick to commas and periods, which is a shame. Often a story can be improved with slight changes to the sentence structure, and all it needs are some colons or semicolons. The biggest problem is the comma. Writers tend to either overdo the comma or never use it, and most times, they flip back and forth in style during a story. Usually reading a story out loud will alert the author to the placement of commas. Tense consistency is another common issue. If the story is in past tense, don’t use present and so on. Those are technically mistakes; if I had to come up with a plot problem it would be: your story probably shouldn’t end with the main character dying. That’s the easy way out; a mistake I find myself making on too many short story first drafts. There’s usually a stronger ending.
C.S.: What classes have you taken that have helped you the most?
J.H.: I went to college for fiction writing, so I would have to say just about all of them. The key really isn’t what you write or who reads it that will help you the most. It’s simply writing constantly and consistently. The classes also helped in another way: by forcing me to read varied and new-to-me authors. It’s important because you might learn a new way to tackle a problem or find a style you might like to incorporate into your own.
C.S.: What advice would you give other writers?
J.H.: Don’t stop. Writing like anything else, takes a lot of practice. You need to read a lot to learn how to write, and to write a lot to learn how not to write, and to listen to a lot to learn from your mistakes.
Carol Smallwood’s books include Women on Poetry: Writing, Revising, Publishing and Teaching, foreword by Molly Peacock (McFarland, 2012) on Poets & Writers Magazine list of Best Books for Writers; Women Writing on Family: Tips on Writing, Teaching and Publishing (Key Publishing House, 2012); Compartments: Poems on Nature, Femininity, and Other Realms (Anaphora Literary Press, 2011). Carol supports humane societies.