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BIG FICTION wants to be a place for novelettes that challenge narrative convention, to embody narrative conventions so well we see all the strange and wonderful possibilities in the visible frame. We love fiction that plays with style, that experiments even a little but also fearlessly, that examines its form as well as the people and movement and things and nonentities inside it.

Put us on the boat over the kicking waves. Make us the ocean that rocks the boat. Embed us in the relationship that binds them. Show us the complicated, the inseparable, the effort and vanity, the experience.


So, here's the deal. We're too self-aware, too self-conscious, too self-deprecating stylists and so our editorial tastes become this, too. We love language. We love movement. We love perspective. And not just the fact that a narrator is a certain someone of a certain age from a certain place, but also that our narrator has a chip to unload, a bet to wager. Even a third person narrator takes chances and throws risk to the roulette wheel. We love the camera lens to zoom more than it pans. There's intensity when the view narrows. There's intimacy and honesty.

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