Rae Stringfield

• writer • editorial consultant • educator • student •


Featured Stories

Person Rolling Suitcase in Airport_edited.jpg

Very, Very, Very, Very Serious

It might’ve been okay if Dad hadn’t said four times how serious they had to act at the airport checkpoint:

“—very, very, very, very serious.” Four was Jamie’s worst number. He wished Dad had stopped at three.

It might’ve been okay if Jamie’s heart wasn’t thumping or if he hadn’t asked so many questions on the car ride, but the four had been too much, he couldn’t stop... Read more

Flash Fiction Magazine

Halfway House
for Runaway Dads

They collect dads year-round, but mostly during cold months. Christmas lights go up and blink loud like the VACANCY sign at the motel, bring dads knocking with rough knuckles and grease-stained fingers from the jobs they mostly still go to for a while some days. At first there are no smiles... Read more

Cotton Xenomorph


It was the summer after they rerouted the freeway away from our town, when our dads and some moms left to find jobs as our cupboards ran dry. The summer we were so hungry we committed blasphemy: snuck into the church basement for the plush nativity scene we’d sewn in home ec, excavated bean-filled bodies and ate like gluttons... Read more

NYC Midnight 

Short Story Challenge winning story


a bit about Rae

Rae Stringfield (she/her) grew up in the Tennessee Valley. She is a PhD student in University of New Mexico's Rhetoric & Writing program and holds an MFA in Creative Writing & Environment from Iowa State University, where she served as Fiction Editor for Flyway: Journal of Writing & Environment. She has taught creative writing, rhetoric and writing, multimodal composition, and special topics honors courses. 

Rae is a fiction writer, an avid reader, a freelance editorial consultant, and an Assistant Fiction Editor for Newfound. She is currently at work on her first novel.


Editorial Services

for short fiction, novellas, and novels

Content Edit

A content edit is appropriate for a manuscript that already has all the essential components including solid plot, round characters, and an ending. A content edit understands a manuscript’s goals and views the project as a whole to provide both big-picture and focused analysis and suggestions that support the author in realizing the manuscript’s full potential.


Line-editing focuses on style and language and is appropriate for a manuscript in its final stages. Line-editing attends to consistency in tone and point-of-view, trims redundancies, reduces unnecessary passive voice, ensures clarity of meaning, smooths transitions, and pays special attention to dialogue.



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