Showing posts with label Rejections. Show all posts
Showing posts with label Rejections. Show all posts

Friday, December 29, 2017

Top 20 Most-Read Blog Posts of 2017 on Lisa Romeo Writes

As another blogging year ends, I'm grateful to have continued to connect with other writers and readers, and for the many intelligent, interesting, generous guest contributors who have shared their wisdom and experiences. (And while I now have a newly launched, full website, the blog will continue.)

Which brings me to the top 20 most-read blog posts of 2017, which I'm happy to say include several guest posts from writers I've been lucky to host. 

In case you missed a few the first time around, now's a great time to catch up.  Especially number 14, which suggests a terrific thing for writers to do before 2018 begins!  (Friday Fridge Clean-Out posts are not listed.)

1. Guest Blogger Melanie Brooks on: Writing Your Story, and Crying if you Want (or Need) To

2. Memoir Cover: First Peek (Happy Birthday, Dad)

3.  Memoir Book Report – Part III: The Pitch Session that Changed Everything (even though it was "unsuccessful")

4. Memoir Book Report, Part V: Weathering the Query & Manuscript Submission Cycle, from Confusion to Contact to Contract

5. Being Ethel to a BFF's Lucy Yields one Personal Essay after Another

6. Memoir Book Report: Process, Production, Path to Publication – Part I: Sign, Wait, Hope, Think, Revise

7. I Resolve to...Read. And read and read and read and read

8. What I Heard and Learned at the AWP Writers Conference

9. Guest Blogger David Galef on: One Solution to a Lot in a Little Space -- The Flash Vignette

10. Read-Along. Like a Ride-Along. But with books.

11. Memoir Book Report -- Part IV: Title Roulette

12. Guest Blogger Martha Moffett on Writing Submissions and the Race to the Bottom: The Rejection Club

13. Of Paper, Files, Age and Advice

14. What's on Your Writer's *I Did It List* for 2017?

15.  Guest Blogger Pam Lobley on How She Wrote a Parenting Book Without Really Meaning To

16. Writer Fights AWP Siren. AWP Wins. Notes on a Last Minute Writers Conference Trip.

17. Memoir Book Report: Part II -- Final Manuscript Revisions

18. Guest Blogger Marjorie Simmins on Memoir, Starry Night Memories, and What She Learned from a Workshop Student

19. Home from Hippocamp with a Bunch of Thoughts about Writers Conferences

20. Guest Blogger Judy Mollen Walters on Creating Fictional Worlds From What We Know




Thursday, November 9, 2017

Guest Blogger Martha Moffett on Writing Submissions and the Race to the Bottom: The Rejection Club

Some writers that I like very much I’m just not able to stay in steady contact with, but I’m always happy when we cross paths. Like Martha Moffett, a New Jersey writer I like to talk to anytime we’re in the same room. Martha was born at the end of a dirt road in St. Clair County, Alabama, worked in book and magazine publishing in New York City, and has written for Cosmopolitan, New York Magazine, and British Heritage. She’s also worked as a librarian, and is now a freelance editor and ghostwriter. Her novels include The Common Garden and Dead Rock Singer. She’s also the recipient of fellowships from the Florida State Council on the Arts individual fellowships, and Yaddo.

Please welcome Martha Moffett

My plan, this past summer, was to work on one story and get it polished and ready for rejection by Alaska Quarterly, One Story, and Glimmer Train, some of my favorite journals. 

That’s an inside joke for “The Rejection Club,” four writers who decided to send out work at a fast clip and to keep score and compare notes.  The winner (loser) with the most rejections was assigned to treat the rest of us to a bottle of wine in our favorite pub at the end of a year.

I had traditionally sent out one story to one journal and waited for a response. Sometimes it was months in coming. Sometimes it never came. We had two thoughts about the general wisdom of this: If they don’t respond promptly, they aren’t interested. Or, if they keep your work a long time, they are seriously considering it. We weren’t convinced of either but knew that at this rate, months became years and the work waited patiently in my computer. My three writer friends followed more or less the same routine.

But after Kim Liao’s article “Why You Should Aim for 100 Rejections a Year” circulated on the Internet in June of 2016, we rethought our position. In addition to increasing our submissions, I said, “Let’s make it a competition. Who can get the most rejections fastest?”

That same summer, it was on my calendar to take a workshop with Lisa Romeo at The Writers’ Circle called Submission Strategy. Lisa’s spreadsheet was a revelation to me. I began to keep better records of what I sent, where I sent it, the date, the outcome—rejections, yes, but as Lisa also said, record any feedback you get.

The four of us had a backlog of unpublished work. We’d met in a workshop where one of us was finishing a novel set in New York City and Italy; another was working on a crime novel; the third member’s novel was about an American family and how it changed over two generations; and I was bringing my chapters of a novella to workshop to be picked over for the problems of consistency, tone, and point of view. In addition, we all had stories, essays, short-shorts, and other bits and pieces in reserve.

We proceeded to build our attack. We met and exchanged literary journals, to improve our knowledge of what they printed and what the editors liked. I came home with an armload of Ploughshares, which I had never read despite its reputation, and I passed out copies of Chattahoochee Review, where I’d been lucky in the past. I had a lot of back issues of One Story for the taking. I picked up Gulf Coast, New Letters, and Bellingham Review.

We also exchanged lists of journals looking for submissions or running contests. One member subscribes to Literistic, a good source. I subscribe to Practicing Writing, Erika Dreifus’s daily blog, for the Monday list, and her monthly newsletter The Practicing Writer.  We also consulted Publishing . . . and other Forms of Insanity. And of course, Poets & Writers is available to all of us, magazine or online, a great guide and vetted by P&W—no rip-offs there.

We started our first round of submissions, and soon our emails were reading like this:

I got two rejections in a week. I’m surging ahead!
Do you know how many editors have “loved” this story but rejected it anyway?
Five agents have decided not to represent my novel.
I’m getting rejections from journals I don’t even remember submitting to!
Your submission was read with interest.” (But WAS it?)

We sometimes got the same standard rejection letter from different journals. And we discovered favorite tropes:

“Although your story was not selected, it does not mean it was without merit.”

And our current favorite:
          
“We were blown away by the quality of this year’s contest submissions . . . “

But we learned a lot. First, to take any word of encouragement as an invitation: “We liked your long story but there was no room for it in this issue.” Or, better, “Try us again.” A personal note from an editor in an email that showed she’d read and thought about our work, or a scribbled note in pencil on a standard postal rejection was to us fit for framing.

We got better at matching our work to certain journals. We now send out work in batches, not one solitary story bearing our only hopes for publication. Our common effort has lessened the pain of rejection—and has given us many laughs. We’re ready to start a new wave of stories flying in all directions, electronically and by snail mail.

In her article, Kim Liao writes that early on, a friend once told her, “Shoot for one hundred rejections in a year, because if you work that hard to get so many rejections, you’re sure to get a few acceptances too.”

We in The Rejection Club know it’s going to work.

In fact, it has already worked! A few days ago, I received news that I had won the Faulkner-Wisdom Competition for The Novella, sponsored by Pirate's Alley Faulkner Society and selected by the author Stewart O'Nan. I know my writing friends will soon follow with their acceptances.  And that bottle of wine is waiting.


You can connect with Martha at her website  or her blog


Friday, February 3, 2017

Friday Fridge Clean-Out: Links for Writers -- February 3, 2017 Edition

>Rejection notes are never fun. But the Baltimore Review has found a way to at least make them helpful. Witness the ending of one I recently received: "...I hope that you enjoyed writing on this theme and that you will soon be able to place the work in another publication. See long lists of other publication possibilities at... " followed by links to four places to find submission opportunities --  New PagesCreative Writing Opportunities Listserve, Poets & Writers, and The Review Review. 

>If you're trying to establish a write-every-day habit, you might try 750words.

>Not new, but useful/entertaining: authors whose significant other doesn't read their books. 

>Since last fall, I've been editing the craft essays about nonfiction writing for Cleaver Magazine, and I'm so pleased with the latest two pieces: Vivian Wagner with how poetry writing is changing her nonfiction, and Megan Culhane Galbraith on the way playing with dolls (!) is helping unlock her memoir writing.

>Finally, two fun items: if you're also a middle-of-the-night scribbler, enjoy Sarah Broussard Weaver's post at the Brevity blog. But if days are a problem, try Colin Nissan's cry for help Daily Shouts piece at the New Yorker, "I Work From Home."


Have a great weekend!


Friday, October 28, 2016

Friday Fridge Clean-Out: Links for Writers -- October 28, 2016 Edition

> The New York Times' excellent teaching blog, Lessons Plans, offers a long, resource-filled, smart piece about using the many personal essays that appear all week long in the newspaper, to teach (and learn) how to write better personal nonfiction. Hint: there's a lot more on offer than the Modern Love and Lives columns. (hat top: Creative Nonfiction)

Tomorrow night, October 29, four nonfiction literary journals are holding a National Nonfiction Simulcast, with reading in three cities (Pittsburgh and Lancaster, PA, and Sacramento, CA). Anyone anywhere can join in online.

> Here's a list of 30 literary journals that pay writers (via AuthorsPublish).

> Some crazy legislation in California is making it difficult for bookstores to sell author-signed books.

> Another take, from Kristen Langley Mahler, on how "collecting" 100 rejections strengthens a writer's submission game.

>Did you know there's a website that compiles information about chapbook publishers, chapbook reviews, and other chap-related goodies? (hat tip: Trish Hopkinson)

> I'm often asked for  places to find new writing prompts. Try The Writing Reader.

> Finally, if you buy books and don't read them (yet), there's a word for you. (Please don't tell it to my husband.)

Have a great weekend!


Image: Flickr/CreativeCommons-BrittKnee

Monday, October 24, 2016

How I Got Into That Journal (or, how to get into any journal)

Occasionally I teach a class on Submission Strategies, and from the start, I passionately insist that for every time I get an acceptance from my top-pick, first-choice venue, without sending the work anywhere else, there were at least three instances of sending a piece around to a half dozen (or several dozen!) markets before it landed in a good literary home. 

And though everyone dutifully takes notes and nods, I'm guessing some are quietly thinking, well maybe for her, but that won't be me. Few people ask questions at this point.

But at the next session, I bring in a couple of printed out 11 by 17 worksheets from my (long, tedious, but vital) Excel spreadsheet that I use to track all of my submission, cross-sorted by venue and piece of writing, dates, outcomes, editor notes, etc. When this starts to make its way around the table, eyes widen, jaws drop a little, questions erupt.

Did you really send 8 (or 18 or 28) pieces to X before you got a yes?

Yes.

Did you really have to submit that piece (the one got nominated for an award, the one that won an award) to 8 (or 18 or 28) journals before it was accepted?

Yes.

But now that you have lots more experience, it's easier right?

Ha. No. And, yes.

You learn stuff. You get better at this enterprise, this business, this game of figuring out where your work will succeed. You develop instincts, learn from mistakes, know more about what editors want based on what they've already published (because you read and read and read). You also learn more about yourself and what you are interested in accomplishing by publishing, what you can live without, what you don't care to negotiate. This takes time, commitment, some analytic skills, gut instincts, and a little luck. Not to mention (but oh let's mention) that this only happens if along the way, your writing craft is also consistently improving, even if only incrementally.

When it all works, when the venue you are after wants what you have to offer, after you pat yourself on the back, it's worth figuring out what you did right that time.

That's what I do in a guest blog post running over at the Brevity blog -- analyze what I did that got my essay into the Fall 2016 special issue of the literary journal Brevity Magazine. The post is divided into nine steps. I hope it's helpful to any writer wanting to break into any market that's personally meaningful. 




Friday, July 22, 2016

Friday Fridge Clean-out: Links for Writers -- July 22, 2016 Edition

> So many, me included, were particularly saddened to hear of the passing of Carolyn See, novelist, writing professor, book critic, and tireless literary citizen whose generous acts and motivating book, Making a Literary Life, inspired so many writers over decades. Here is the New York Times obituary, and at KCET's website, a stunning, meaty, loving tribute by Gayle Brandeis.

> I missed this back  in March, but it's just as relevant today: Rebecca Hussey's "100 Must-Read Essay Collections," at Book Riot.

> Some days we need, "17 Poems to Read When the World is Too Much." Especially haunting: "What They Did Yesterday Afternoon" by Warsan Shire.

>Writers continue to react to the idea of aiming for 100 rejections per year. On the Kenyon Review blog, Laura Maylene Walter shares how she racked up 215 rejections in 2015, how those numbers added up, and what it means to her.

> Occasionally, I like to point readers to other places on the web (like my Friday posts) to find weekly round-ups of writerly news and links. Try the Literary News column at Change Seven journal.

> Although Beyond Your Blog will stop posting new material soon, the archives are rich in podcast interviews, tips, advice, resources, lists, and links that will help writers who want to get published online and in print.

> Student Brag Box: Bay Path University MFA student Heidi Fettig Parton's work of creative nonfiction, "When You Wander West" appears in the current issue of Angels Flight Literary West. If, like me, your kids are near, entering, or working their way through young adulthood, you'll appreciate this one!


Have a great weekend!

Friday, July 1, 2016

Friday Fridge Clean-Out: Links for Writers -- July 1, 2016 Edition


> Lit Hub has two interesting posts this week for those who write and send out literary work. Before you get into action collecting No's, as suggested in Kim Liao's "Why You Should Aim for 100 Rejections in a Year," consider the tips Erika Dreifus shares in "13 Questions to Ask Before Submitting to a Literary Journal." 


>For those who publish regularly on more mainstream sites and are curious about the reach of your work (especially if your payment is partially determined by clicks), have you tried out Muck Rack, which claims to track all blogging and social media shares?

>I won't get to see Hamilton on Broadway until January 2017, but later this summer some teaching colleagues and I will be incorporating it in our Teen Creative Writing Intensive workshops, which makes the timing of Roy Peter Clark's article in Poynter this week, "Learn From the Word Craft of Hamilton and Make Your Stories Sing," just perfect.

>When a normally savvy, professional, and experienced author (both traditionally- and self-published) apparently gets ripped off by a book PR "firm," it illustrates how easy it is to lose money and waste time while seeming to be doing the right thing for a book launch. Linda Formichelli, of The Renegade Writer, bravely shares her cautionary tale. Later, Sandra Beckwith, of Build Book Buzz, posted about how others can avoid Linda's experience.

>Write a book (even a slim one) under contract in two weeks is a crazy idea, right? Right. Even Sonya Huber, who did it (The Evolution of Hillary Rodham Clinton - SquintBooks/Eyewear Publishing), will agree. But her generous post this week about exactly how she did it, isn't crazy at all.

>Brag Box: I'm so proud of my former coaching student Emily Klein for her essay, "Variations on a Theme: Sing it James
" now up at Entropy. It's always a little thrill for me to read the final, polished, published piece, having once seen it in its infancy. It's a lovely essay about what the music of James Taylor means to an ill baby--and aching mother.

>Finally, for typewriter lovers (I know there are still a bunch of us out there), check out Chryselle D'Silva Dias's City Lab article on the state of the typewriter industry in India (bonus: photo of cool typewriter sculpture).


Have a great weekend!


Wednesday, June 1, 2016

Teaching a Class for Writers on Submissions Strategy? Better check my own stats first!

I'm gearing up to teach a local four-week summer class, Submission Strategies, and so I'm combing through my own mid-year stats. This includes tallying up: what's been submitted, how many times, to how many different venues; what's been accepted or rejected; what's been published or will be soon; how much I've spent on submission and contest fees; how/if I've placed in any contests; and what shape my "to submit to" list is in. 

Though I keep thorough records on every aspect of my submission life--via my own Excel spreadsheets, on Duotrope, and (automatically) at Submittable--this exercise at nearly the mid-year mark is proving enlightening. 

I discovered, for example, that although I thought simultaneous submissions were lagging, in fact, I've been keeping pieces circulating to about a half-dozen prospective venues at all times (this tells me I'm keeping up with making 'plan B' lists and then using them).

I thought I had on hand a low number of polished and ready to submit pieces, but in fact, I have more entries in the "pieces ready to go" column than I remembered.

I was heartened to see that I had submitted to a lot more new-to-me venues, and yet I also noticed that this meant my "to submit to" lists are being depleted and I need to plump them up with additional new places to try. Translation: spend more time researching venues that are a good fit.

My stats on what's been accepted or rejected weren't really a surprise. Don't we all have that mental tally in our heads pretty much all the time? But I noted that overall percentage of acceptances to rejections can be drastically skewed when one stubborn piece doesn't find a home until it's been rejected 27 times.

I was also unfavorably impressed with how much I've spent on submission fees at this point in the year. It's not a lot really, but it's more than I thought or budgeted for. Those "little" $3 fees do add up. I try to think of this as a marketing expense, and in a larger sense as a way to support literary publishing. Still, I wasn't thrilled to note that I'm more than halfway through what I'd mentally allotted for the year, and we're not quite at the halfway mark on the calendar.

I enter very few contests for short pieces of work (so have virtually no budget for that), but had earmarked more serious funds for entering my newly revised full-length memoir manuscript to contests run by trustworthy boutique or university publishers that offer book publication and a small advance. Likewise for entering a short essay collection in creative nonfiction chapbook contests. I'm on track in this budget area and have been a finalist in one chapbook contest, but most of the book pub contests won't announce results until later in the year.

I learned a lot more, and even did MATH (can I tell you how much this hurts my head?), finding the numbers that tell the rest of the story. A typical outcome went like this: an essay was first sent exclusively to one venue, which required a $3 fee. When that one said no, off it went to four others simultaneously (no fees); I withdrew the piece from the three I hadn't yet heard from as soon as one of the four said yes. But other pieces that made their simultaneous way round and round, sometimes added to the submission fee budget, though in a few cases, that was offset by payment. 

In future, I'm going to make it a habit to scour my submission stats this closely on a quarterly or at least semi-annually basis, instead of just skimming them along the way and waiting until January to look back carefully at an entire year.

I'd love to hear how other submitting writers handle tracking submissions and related stats.


Images: All Flickr/CreativeCommons. Submit - Amy[treespacestudio]Stats - SimonCunningham/LendingMemo;  Headache - PierreWillemin. 

Tuesday, May 31, 2016

I've Run Out of Other Cheeks and There's No Room Left on the High Road.

In the nine years this blog has been going, I've tried to keep it upbeat, tried not to complain (too much or too often), or waste time or yours with petty grievances. Not today.

So there's a writer/editor who put out a call for submissions for an anthology about 18 months ago. (Let me say first, and as my readers, you likely already know: I have VERY thick skin, and roll with rejections every day.) I thought carefully about the stated theme of the anthology, and I submitted a pitch for an essay very much on-topic that also addressed an aspect of the subject matter that wasn't likely to be over-represented.

You never know with these things. I've been on the YES end of a cold anthology essay pitch many times, and I've also been on the NO end many times. You pitch (or submit), and you hope. You know it's a crapshoot. If it's a NO, you (or at least I) regroup and decide: whether to pitch the editor something else; to write the original essay anyway and find another market for it; or figure I tried, maybe this anthology is just not for me. And you walk away a little disappointed, but not particularly bruised. It's the way things go.

But in the meantime, you wait for a response, and you hope. If you're me, you start notes for the proposed essay anyway. Maybe you begin writing a brain dump draft. Because, why not?

This writer/editor's negative reply came back in less than two hours, and included all of the following:

1. The idea was "obviously outside the range of what I want." (It wasn't outside the topic at all, though it would address a little-discussed but important aspect. Okay, she didn't want to go outside that box, got it. But then shouldn't the original guidelines have noted that all ideas had to be on-the-nose? Or was she just lying about the reason for rejection, because she went on to inform me that...)

2. Even if she were inclined to like the idea, she would need someone other than ME to write it because I don't have enough "audience drawing power." (Guess she didn't like my social media numbers. Or I didn't fit into some idea of the kind of top drawer writers she wanted in the book. This seemed like the kind of opinion she ought to have kept to herself, especially as it wasn't a stated criteria. Yet if she wanted only top writers, who not solicit them directly instead of putting out a public call? Also, she's not exactly a household name herself, even in writing circles.)


3. That under no circumstances should I contact her again with another idea for this same anthology; I had my one shot already. (Wow. Didn't realize I was dealing with a royal personage who had granted me the honor of a one-time-only email audience.)

4. That under no circumstance should I give out her email address to other writers because she was already inundated with pitches. (Then why did she post it on a public website in the first place?)

It stung, it felt in part personal and mean-spirited, and in part wholly unprofessional. But I shook it off. That's what you do, right?

I also wrote the essay anyway, and it has since been published in a venue I like by an editor who treated me well. So I guess I "won" in some odd way. Still.

The anthology will be published soon, and via email, via Facebook private message, via Twitter private message, and via newsletter (which I'd sworn I'd opted out of), I've been asked to: sign up for an automated social media support campaign; write a book review; request a local bookshop to stock it; LIKE the book's Facebook page; support a giveaway; and otherwise support the book's release. (Gee, guess my reach is okay after all!).

I know the right response is no response, that the right thing to do is to do nothing, to say nothing. And so that's what I will do to "support" the book. Nothing. I will also not ever reveal this person's identity, or the name of the book.

I have been in this "business" for 30-plus years, and some days I get so freaking God awful tired of that damned high road.

That is all.


Images: All Flickr/CreativeCommons. High Road - Tim Roach/aka atoach; Red Flag-TerryJohnston.

Friday, May 27, 2016

Friday Fridge Clean-Out: Links for Writers -- May 27, 2016 Edition

A big bunch of links to last you through the long weekend. Enjoy!

> Richard Russo and Jenny Boylan team up in a Studio 360 podcast, on "Plot Twists in Books--and Life," and I can't think of a better writer-friend combo to tackle this topic.

> From the front lines (or front office, anyway) of the O.Henry Prize Stories, Kelly Luce reports, in Electric Literature, on "12 Things I Noticed While Reading Every Short Story Published in 2014-15 (or, Extremely Long Titles That Are Complete Sentences Are Still Very Much a Thing)" 


> Authors, need help coordinating book promo events? Check out Have Book Will Travel, which is "connecting authors with reading series and venues."

> On Saturday and Sunday, May 28 and 29, you can listen in on, and ask questions, during a select few live sessions at the Creative Nonfiction Magazine Writers Conference including "Write This Way: How to Find and Develop a Niche in Your Writing" moderated by Keysha Whitaker, with Shannon Reed, Jason Bittel, and Christina Marusic; and "Ask an Editor Panel," moderated by Ellen Ayoob, with Hattie Fletcher, Geeta Kothari, and Jessica Bylander.

> The new app Litsy aims to be a place to "share and discover your favorite books with your favorite people." At Book Riot, Brenna Clarke Gray characterizes it "as if Instagram and Goodreads had a beautiful, perfect baby."


> Looking for more places to find good links for writers? Try this "Afterthoughts" newsletter from Chantel Hamilton.


> New Pages is now doing Lit Mag Reviews. (Correction: STILL doing reviews! Don't know why I thought they were a new feature at the New Pages site. I stand corrected. Still excited to know of this resource.)

> In Britain at least, The Guardian reports that paper books are outselling ebooks.

> At the Los Angeles Review, Corey Ginsberg weighs in with some rules about rejection for writers--and for editors, too.

> Finally, earlier this week, I had a horrible, no-good, very bad Monday of rejections--four in my inbox before lunch! The next morning I found Kathleen Siddell's great funny/not-funny piece, "How to Face an Inbox of Rejection" on the Brevity blog. Bravo.


Have a great weekend!




Image: Flickr/CreativeCommons - Billie Grace Ward / wwward0

Friday, May 6, 2016

Friday Fridge Clean-Out: Links for Writers - May 6, 2016 Edition

>It may not be all of them, but this list of literary venues that pay writers, at The Review Review, is a good start.

> Bookfox's annual "Ranking of Literary Nonfiction Markets," based on which journals and magazines are recognized by Best American Essays, is always illuminating--and useful, if you're planning submissions strategy.

> Gay Talese may not feel inspired, but most writers and avid readers will be, by this New York magazine post listing "
The Queens of Nonfiction: 56 Women Journalists Everyone Should Read".

> Elizabeth S. Craig tweets dozens of links to good posts about the writing craft and periodically compiles them, like this list

> As so many of the nonfiction pieces over there are, here is a beautifully written essay by Robyn Russell, at The Rumpus. That is all.

> Useful tips, at the start of any feedback/workshop situation, on how to accept, evaluate, use, and learn from comments, advice, and suggestions on your work.

>Finally, while you may think you have gotten every kind of rejection a writer could get, 
check out this over at The Reject Pile, and also note the transparency of the guidelines at the Journal of Universal Rejection.


Have a great weekend!

Image: Flickr/Creative Commons

Tuesday, May 3, 2016

From Lemons to Lemonade, with Writing, Loss, and a Speeding Car in Between

Winter and early spring have been a chaotic few months, bitter and a little hard to take. It began with knee surgery for my husband, followed a few weeks later by the loss of his much-loved father, with whom he worked, side by side, for nearly 40 years. 

Then, about three months of  recurrent illnesses (and tests and a bit of surgery) for me, and finally--as if my family wasn't already feeling like we'd gotten hit by a speeding vehicle, an actual speeding vehicle turned a quarter of my husband's  brick and concrete warehouse into a drive-thru. (Fortunately, hubby was 20 feet away from the crashed wall--though 20 seconds before he was right behind it.) Seeing your husband bowed first by loss and then by the physical destruction of the place where he and his father built their business, is something I don't yet have words for.


Yes, life goes on. As life went on the last few months, I kept writing, because--well, that's what we writers do, right? We write. Nonfiction writers especially write about what's swirling through our lives, buffeting us with emotions and situations we'd rather avoid, or don't understand, or find confusing, stressful, emotionally demanding. We write, not sure why some days, or where any of it may lead.

What I've been scribbling over the winter of discontent may or may not ever amount to anything. Right now all those hand written pages are just pages, just notes and half-simmered thoughts and ideas of what may make a good essay--one day. For now, it's just marinating. Another day, I'll peek under the lid and see what the stew holds, maybe ladle out something that looks or smells promising.

Meanwhile, the writing life went on, goes on...

~ The academic semester is ending, and later this week, I'm heading to the campus of Bay Path University in Massachusetts to see our first creative nonfiction MFA class graduate--and meet most of my online students for the first time, as they read from the creative work I've witnessed them conceive, craft and revise and rewrite, for the past two years. 

~ My fingers are crossed that a 2017 AWP panel proposal will be accepted. 

~ Fall courses are penciled in.

~ The rejections arrive, are duly noted. And the essays and short memoir pieces and pitches go out again.

~ An essay close to my heart has been accepted by a print journal I admire (with a fall publication date).

~ I've sent off a rewritten memoir manuscript--this time a more traditional linear narrative (transformed from a linked essay collection). Will YOU cross your fingers for me on that one?

Meanwhile, it's spring (though the continuing cold weather in New Jersey suggests otherwise). The crappy winter is in the rear view mirror. Summer is ahead. And, lemonade.

Onward...


Images: Flickr/Creative Commons -- Lemons (BobBertholf); Lemonade (LaurenAllik-Floating/Vibes)



Wednesday, June 24, 2015

Publication Venues Everywhere, How's a Writer to Choose?

So many places to submit writing. So many places to (hopefully) see it published. Hundreds, maybe thousands of venues.

Overwhelming is the word I hear most often from fellow writers--and the word that buzzes in my brain often enough, too.

To combat feeling paralyzed by choice, I just keep moving along, trying to learn, adjusting my submission strategy (not even sure I'd call it a strategy, maybe more a process), making mistakes, figuring out what's important to me (intelligent editing, respect for the work, an indication that the venue won't disappear), what I want to avoid (snooty precious attitudes), and what's a bonus (venues that promote their writers, are connected to some bigger literary project/cause).

One thing that helps me is to have a small number in mind. For me it's six. I want a list of six possible submission venues for each piece, to start. On the whole (considering that I so often simultaneously submit), those six should be places I'd be equally happy to see the work appear. 

Usually there's a number one pick at the top, and I will sometimes exclusively submit there first and wait a few weeks (or only a few days if it's a newsy, timely piece). But then I move on to the next five. Having a finite number on a list is, for me, the way to narrow down the hundreds of venues to a few I can hold in my mind. As soon as that initial batch of sim subs go out, I choose the next six, put them on the spreadsheet, and wait. When rejections arrive, another submission goes out, so at all times, I have six submissions (for each individual piece of work) always in the pipeline.

How do I decide on that initial six? And the next six?

I do all the expected things: sign up for newsletters and email listservs that track open calls for submission; check out the columns in magazines and online and in blogs that do the same; make good use of submission tracking/database systems. Read. Study. Investigate.

But even with all that, mostly I follow my nose. Usually, it doesn't let me down, though there have been a few stinkers.

I start with the venues I read regularly, and hunger after. But--I am honest with myself: not everything I write merits submitting to my wish list. Depending on the piece, I add those venues that I have read and admire, those that writer-friends have been published in, those that I've discovered via a link and liked, venues that I remember with a fondness. In any case, no matter how I found a venue, there has to be a feeling of, I'd like to see my work there too.

Sometimes I'm more tactical and set out on a deliberate search. I look for venues that publish only particular subjects, that want pieces with certain themes, that are prominent in a particular area of the country, that serve a particular readership.

Then there's my *stalking* approach.

I happen across a writer whose work I like, a writer who, for any variety of reasons, gives me the sense that we're at roughly the same level of ...something. Something sort of unnameable. Not writing skill exactly; something more slippery. Maybe it's aesthetic, or publication achievement, or career trajectory; maybe it's sensibility, or style, or ...whatever it is, it's something I don't completely understand myself, but I know it when I read it. When I read that person's work, a gong goes off: this is a writer whose work is in the "same lane" as mine. Something about this other writer's work tells me: follow. And so I do.

I read the writer's bio at the end of the piece carefully, noting where else she/he has been published. I go to the writer's website for a fuller list of publishing credits, past and forthcoming. Then I set about investigating those other venues, reading, considering, evaluating, sometimes eliminating; but most of the time, I come away with the feeling that confirms what I intuitively sensed in the first place: if this is a good venue for X's work, it's a good place for mine. Those venues then usually wind up on my "submit to in future" list, one of the first six, or the second six. Or the third. Or...

I've done this at least a half dozen times, and mostly had good luck getting acceptances. 

I don't think I'm unique in this way. I've heard other writers tell a version of this story. And of course, over on Facebook, where I'm a member of many *super secret* pages where writers share submission intel (and, I'm guessing, quietly *stalk* one another's publications), it's no secret.

This sometimes makes for apparent serendipity. I've had writer acquaintances message me to say, Hey, I see you're in X this month...I was published there a few months ago.

Yes, I say, isn't that a cool coincidence! 


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