Showing posts with label submissions. Show all posts
Showing posts with label submissions. Show all posts

Saturday, February 19, 2011

Another deadline: The Smoking Poet


I don't smoke, but I do help out as poetry editor for The Smoking Poet, an online journal that rolls up fiction, nonfiction, interviews, cigar reviews, good causes, and poetry.

The deadline for our Spring issue is February 28.

In brief:

Email a group of two to six unpublished poems in the body of your email—no attachments—to the attention of Poetry Editor, and include a bio statement of no more than 100 words (please resist being cute and keep it professional). Subject line should read: Poetry—Last Name.
Or check out the full guidelines.

Saturday, January 15, 2011

10 pages!

No, I am not making this up.

From the submission guidelines for Seattle Review:

We are looking for exceptional, risk-taking, intellectual and imaginative (as if
these two could ever be separated) poems between ten and thirty pages in length.

Between 10 and 30 pages.

I've been working on longer poems--upwards of 50, 60, 70 lines--and thinking that I might not be able to get them published anywhere.

Now, maybe they aren't long enough.

The submissions page includes examples of what the editors consider acceptable, including "a unified sequence of series of poems."

Have any long poems ready to send? You have until May 31.

***

In other news, round 2 of the Paper Our Walls with Rejection Slips Competition started today. I have nothing to send yet.

But how about you?

Wednesday, December 22, 2010

Under consideration, or at the bottom of the slush pile?

When you haven't heard back for months and months...

Friday, June 11, 2010

Two plus thanks

Today, two rejection notices (one in email and one by post, so very balanced). But thanks to Diane Lockward's list of summer journals, I have plenty of new possible homes for these poems.

Thanks, Diane!

Thursday, April 22, 2010

I said I wouldn't

But I did.

Only once.

Will power?

Don't ask.

Today, I submitted poems to Painted Bride Quarterly's upcoming food issue.

After my week of 10 rejections, I was going to wait until May, but I happened to check another esteemed journal's submission manager and found out that the poems I submitted more than a year had, who knows when, been declined. Including a food poem.

I caved.

Feel free to join me: Three-five poems, and you can submit them here.

Now I'll get back on the wagon until the end of the month.

Wednesday, February 24, 2010

Calling all editors, with a question

When you're reading submissions and choosing poems to publish, do you keep your audience in mind? Do you choose poetry based on what you think your readers will like?

Or do you choose what you like and trust that readers who enjoy the same kind of writing will find you?

Just wondering.

Thursday, November 19, 2009

Loading the canon, 2

While in Bowling Green, I sat in on a panel discussion of editors. The theory was that other lit mag editors would attend. But the organizers recognized that other people might come to hear what editors were looking for. And lo, we did.

Right away, someone asked whether editors still had the feeling of reading a submission and saying, "Wow! This is amazing!"; the flip side being just so much slush.

The response from the panelists was unanimous. They all felt the Wow! on a regular basis, and some editors told of going to editorial meetings and needing to fight for the work that wowed them. That gave me a more immediate picture of why I sometimes receive rejection notes that say, "Made it to the final round." Still a disappointment, but it's possible that someone went to advocate for it. Someone thought it belonged.

However, one editor said that he was looking for writers or work that might eventually become a part of the canon. (Oh, no pressure, though.)

What?

I've just been trying to write the best poems that I can, and suddenly they're supposed to be canon fodder?

I haven't sent anything out since, feeling now more than ever that everything must be scrutinized again. As if that will help. As if I feel ready for that level.

And then again, there are plenty of other magazines. But who, when presented with a high bar, wants to lower it? William Stafford—but who else?

Back to the poetry board...

Sunday, August 30, 2009

The price of strategy

Who knew?

I had three poems that were medical in nature, and I wanted to send them to the Bellevue Literary Review. Their website indicated that although they read year-round, they began reading in earnest in September. So I thought I'd wait until September, or almost then.

Not such a good move. Today, their website indicates that they now have a huge backlog of submissions and are closed to new submissions until further notice.

Dang it!

Every submission is a long-shot, sure. But this is where my good thinking got me. Back to the drawing board, or the Poet's Market. (I already have work under consideration or pending at the other three medicine-related venues I know of, so why am I complaining?)

A few days ago, while watching a rerun of Deadwood, I heard Al Swearengen say, "Whenever we announce our intentions, God begins to laugh." Or something close to that.Knowing the show, I'm betting it's a quotation from somewhere (Shakespeare? the Bible?). Either way, it's been a good reminder for me to stay loose. Plan, but don't count on anything.

How do you strategize? (Or do you?)

How do you adapt when plans have to change?

Thursday, June 25, 2009

How do you track submissions?

Recently, I've spoken with a poet who doesn't track them at all. I've heard from people who use Excel, and I've also heard from someone who uses index cards, a system he started before the digital age. It works for him. For me, it would get heavy.

In my new video, I show my (super-simple) solution. I also include a bad joke and some flying SASEs.

Take a look, and let me know how you track which poems are where, what's rejected, and what gets accepted.

Thursday, May 14, 2009

Win at what?

My manager sent a link to an article from the innovation issue of the New Yorker. "How David Beats Goliath," by Malcom Gladwell, examines how David can win, and how rarely the Davids in life choose to.

What?

The idea is that if you play by Goliath's rules, Goliath will win. If you want to beat Goliath, you have to break the rules, change the rules, make rules that work for you. The article tells the story of a girls' basketball team of girls who haven't really played much basketball and how, by changing the dynamics of the game (not the actual rules, even), they managed to win game after game.

When I read this article a few days ago, I had just come out of a fairly long and steady string of poetry rejections (the last couple of days have been SASE-free, from the "no news is good news, I guess" department). I wondered, "How could this apply to poetry? How could you change the rules?"

Right away, a couple of answers came to mind:

"If it's a contest, you can't change the rules. Don't even try."

"Writing is not about winning. Writing is about writing."

True. But is submitting not about winning (in a sense)? And if it isn't, why did the recent issue of Poets & Writers include articles on slush piles and agents and literary nepotism and the lit mags that will do more for your work?

If the premise is that your odds for success can become greater if you try something different, what might that something be?

(The article also discusses how indignant your peer group might become if you begin to play by a different paradigm.)

To me, it's worth thinking about. "Winning" at submitting won't help me write that better poem. But I think my poetry has changed some over the past 15 years, while submitting (on the writer side of the equation) has mostly stayed the same.

Could I try something different? What would that "something different" be?

Tuesday, February 17, 2009

I need a new image

It's a little thing, but do you have any ideas?

I've been sending my manuscript out everywhere. Really, everywhere. Chapbook, full-length, everywhere.

At some point, I'll cringe too much at all the entry fees and the postage (which we now know is going up). But for now, I'm still sending it everywhere. And the image I get is "carpet bombing." But that is not a good image. I don't support any image of bombing, and that's even worse than the others.

But "leave no stone unturned" makes me think of moss. A little too passive.

Got another good way to describe blanket submission? (That one isn't working for me either.)

Saturday, February 7, 2009

What would you do?

I have a small-to-midsized dilemma, and I'm looking for advice.

Say you sent a manuscript by email into an open reading period and paid your reading fee. Say you then went to a workshop and had a mind-blowing, poetry-expanding experience, and you were inspired to revise (and, you think, truly improve) many of the poems in that manuscript.

Do you send email (politely, deferentially) offering to send a copy of the new (and, you truly think, improved) version—if the publisher hasn't read the original version you sent anyway?

Or do you say nothing, and hope that in the extremely slim case the publisher accepts your original manuscript, you'll be able to send the new version then?

The slim case makes it the small dilemma—but what if those few revisions made the difference?

What would you do?


And if you're a publisher, what's your preference?

Wednesday, January 28, 2009

Share and share alike

Feel free to add your scary ghosts below (Blast from the past), and then head on over to Blue Positive and share your submission stories.

Sunday, November 30, 2008

In the barrel room


Yesterday, on our way to wine tastings a couple of wineries in the Georgetown neighborhood of Seattle, we stopped by the shop to check on the wine. When Tom pulled out the bungs, we could hear the wine crackling with malolactic fermentation.

I've spent the most part of four glorious days working on poems. I started by going through every poem in my manuscript (the one I wasn't going to revise for a while). Then I went through my most recent copy of Poets & Writers and some of the submission call information on Facebook and gathered all the links.

Now, I'm going through the poems in my "list of poems that are available to send," and some of them I'm sending to the barrel room. Looking at them through my time-has-passed and post-Lorna-Dee-Cervantes-workshop lenses, I can tell that they need work—and if I don't know quite what that work is, if I try a few or a lot of things and the poem still isn't working, it just needs more time to age. (It might be a lot more time. Some of those poems might never get bottled—but that's okay, and I'll probably learn something along the way.)

And now, for your submitting pleasure, here is my list:

Bryant Literary Review
http://bryant1.bryant.edu/~blr/2008.htm

Hanging Moss Journal
http://www.hangingmossjournal.com/submissions/

Mary Magazine
http://www.stmarys-ca.edu/external/Mary/submissions.html

Natural Bridge
http://www.umsl.edu/~natural/guidelines/guidelines.html

The Normal School
http://www.thenormalschool.com/guidelines.html

Paddlefish
http://www.mmcpaddlefish.com/submit.html

The Pedestal Magazine
http://www.thepedestalmagazine.com/submitguidelines.php

Third Wednesday
http://www.thirdwednesday.org/submissions.php

And the wineries we visited?

Nota Bene
http://www.notabenecellars.com/pages/first.html

O-S
http://www.oswinery.com/








Sunday, September 28, 2008

What next?

This morning I set aside a large block of time to put some new poems up on my website. But after I started working on that project, I realized that most or all of those poems were out in the world, under consideration. So that won't work.


I can wait until they all come back in the mail, or until it's been a year and I figure I'm not going to hear back, but these are poems for now. I'm hoping that after the November election, they will be irrelevant, or maybe just a reminder of what can go wrong.


Then I thought that I could send out some more poems. I even have it partially organized. But these poems are in my new manuscript. Can you send out poems even while you are submitting the manuscript that contains them to various contests or open readings?


And do I really need to worry about this? The statistical likelihood of getting a manuscript accepted and a poem in that manuscript accepted elsewhere sounds like the lottery or lightning.


Okay, I've managed to convince myself. Now I just need to wait for the grass to dry so I can mow the lawn (dandelions, clover) and maybe figure out what to do with this monster clematis.



Thursday, June 28, 2007

Problem solving

A colleague at work sent a link to an interview with Ze Frank, part of the Cecil Vortex series of Conversations about Creativity.

I took special note of this section:

"There are times when I feel like I'm craving what I call unsolvable problems, and I have the kind of energy you need to move forward into uncharted territory and brave that side of things. And then there are other times when that seems like the most difficult chore in the world. So I've also gotten pretty comfortable knowing when I need to pick up solvable problems."

For me, new poems and new work sometimes feel like unsolvable problems (irony: I can solve them, or I can try), while sending poems out feels like a solvable problem (even though I have absolutely no control over the outcome). It's a process I'm familiar with, at least.

Originally, I planned to avoid sending work out over the summer—the mostly nonreading time. Now, I'm feeling like I want solvable problems.

Last summer, I sent around a list of publications that read June-August. This year, I'm not so prepared. Any recommendations?