Tag: submissions

Angst/

Submissions – to enquire or not to enquire?

Submissions - to enquire or not?

First of all a huge thank you to Matthew Stewart of Rogue Strands who has once again mentioned my blog in his ‘Best UK Poetry Blogs of the Year’ roundup. It’s exciting to be in there with such great company, and always very nice to know this blog is read and enjoyed. I think all bloggers have those days when you’re writing something and you suddenly think “what if no-one reads this, am I just sneezing into the ether?” or whatever.

Now we have those crazy last two weeks before Christmas which, in a musical household, tends to mean every spare moment is taken up with concerts and the myriad jobs they involve. Poetry has to take a secondary role. Having said that, tonight is a last huzzah of the year with the Brighton Stanza having a seasonal evening of readings, magazine-swapping, socialising, celebrating and commiserating. I’ve managed to delegate the compering to two fine poets with big personalities and am looking forward to hearing a wide variety of poetry styles and performances from our eclectic mix of members, Brighton-stylee.

overwhelmed editor
I do sympathise. Honest.

Submissions news: no news (and not necessarily good news). But I did come across a very handy tool put together by Nathaniel Tower on his blog Juggling Writer – it’s a spreadsheet for keeping track of submissions. (The link to it is about halfway through this article.) My own submissions tracking started off very well but has gone a bit scruffy lately, and having inputted my current ‘out’ poems into Nathaniel’s nice clean version, I can see at-a-glance that I have 13 poems that have been out for 34 days, 4 for 50 days, 2 for 61 days, 4 for 89 days and 4 for a whopping 114 days.

I did recently enquire about the four poems that were submitted 114 days ago (August 16th) – a very polite enquiry of the magazine in question, asking where they might be in their reading schedule to give me some idea of how much longer before a response. I was brief, and about as friendly, humble and self-effacing as I could be within the confines of human dignity. But it didn’t surprise me not to get a reply, which in itself makes me sad.

I’m trying very hard to see it from the magazine’s point of view. I’ve read all the articles about how editors are overwhelmed, losing money and hair, besieged by poets who don’t read the magazine or the guidelines, who pester and get shirty if they’re rejected and so forth. The magazine editors I know or have met are nice people with a difficult job. I do understand and generally speaking I know you just have to wait, and when you get a ‘no’, you move on and send it elsewhere. I obey the ‘no simultaneous submissions’ rules and am prepared to tie up poems for months on end, that’s just what poets do.  I rarely enquire – but when I do, I wring my hands and think and think about the wording. I try to be as considerate as possible. But I don’t think it would be unreasonable to submit elsewhere after five months if a gentle query brings no reply.

Do you agree? Do you ever enquire about a submission, and if so, at what point? Do you get a response?

Meanwhile, a quick plug for the next Telltale Press event at the Poetry Cafe in London on Wednesday 7th January at 7pm – please come if you’re anywhere near London. It’s FREE! On the bill are Catherine Smith, Canadian poet Rhona McAdam, Siegfreid Baber plus Peter Kenny and myself. There’s a Facebook event page, let us know if you’re coming and hope to see you there.

Angst/

Dealing with Literary Rejections: Six Viewpoints

Dealing with rejections

Rejections - Charlie Brown

I was asked yesterday ‘how’s the writing going?’ which is always an interesting one to answer. First you have to gauge if it’s a genuine enquiry, or a generic ‘how’s things?’ A non-writer friend probably doesn’t want to hear a long moan about rejections. But submissions, and in particular rejections, is one of the unavoidable and recurrent themes of a writer’s (certainly a poet’s) life.

For me, the problem starts with the word ‘submission’. It’s so, well, so passive. To submit is to rollover onto your back like a cat with its claws retracted, begging for attention. It just ain’t dignified.

There are thousands of articles and blog posts about dealing with literary rejections. And can we get enough of them? I don’t think so, judging by the social media indicators. I’m not the only one to be fascinated by how others deal with the rejection game. I’m just as fascinated to know how the rejectors deal with it too. There are two sides to it, but perhaps it’s easy to forget that when you’re the submissive party.

Here are six viewpoints on rejection that I’ve enjoyed. You have to read them to get the full stories, but I’m giving you a flavour.

“No Thank You” – On Rejection and Writing by Chuck Sambuchino in Writers’ Digest.  “You can’t please everyone, and the moment you try, you cease to write anything interesting.” Chuck runs with the idea that all rejections are subjective, and you can rationalise them all you like but ultimately you just have to deal with it and not let it unsettle your writing.

Rejecting Rejection by E Kristin Anderson at The Writing Barn. Rejection slips are just part of the submissions game – there are no acceptances without rejections along the way. “You can’t win if you don’t play.”

“Never Give Up” — or How One Writer Got Published in Poetry Magazine After 12 Rejections at the Bookbaby blog, Chris Robley tells the encouraging tale of poet Todd Ross who was eventually published 15 times in Poetry magazine, despite his previous 12 rejections by same.

Submission, Rejection, Acceptance, Reward by Roy Marshall. Paying attention to the detail of cover letters and appreciating the ‘good’ rejections can bring some comfort. “Once or twice I’ve felt less pleased by an offhand acceptance than by polite and careful rejection.”

Ten Levels of Rejection (and What to Do About Them) – Nathaniel Tower takes a close look at the exact wording of rejections and draws some biting conclusions. “Not all rejection is equal.” Great to see the ‘passive aggressive’ rejection (beloved by certain publications) finally unmasked! (Number 4)

And finally, Robert Peake gives some soothing advice in What Should You Learn from Rejection Letters? at ReadWritePoem. “The very fact of rejection is insufficient grounds to conclude your that poems are terrible, that you are a terrible poet, possibly a terrible person, and that giving up writing for good would be a service to humanity.” Oh we hope not, Bob, we hope not.

 

Comic strip copyright Peanuts.com

Courses/

Bring up the poems (are they dead or sleeping?)

As part of my autumn poetry reactivation plan (sounds good, eh?) I’ve signed up for an online course from the Poetry’s School with Karen McCarthy Woolf. It’s a feedback course for the ‘general improvement of left-for-dead poems in need of resuscitation’. This premise really appealed to me – having quite a few poems languishing at the moment, some of which I feel at the end of my editorial tether (with). (Apologies for the clumsy construction, but since I’m off duty while writing this I feel able to mush over any dodgy grammar or whatever. It’s the equivalent of pulling on a onesie and eating a takeaway while watching TV. I’m at home. Off duty.)

Putting Baby to Bed

Soooo … time to dust off some old pomes. While we’re on the subject, I should mention that I was pleased to find out that South have taken two poems of mine for their autumn issue, just when I’d thought they wouldn’t find a home. I did think I wasn’t going to submit to South again, but when it came to it I just felt those poems belonged there, so I’m glad the selectors felt the same. It’s an unusual setup there – no one editor, but a committee, of which (as far as I can tell) two or three people act as selectors for each issue. Although submissions are anonymous, there’s a distinctive consistency about the poems chosen. For example, my Lewes cohort Jeremy Page manages to have something in every single issue – what gives, JP?? – and other names too are ‘regulars’. The magazine doesn’t include poet biogs (which is a shame) but it does have a launch event for each issue (which is good).

Anyway, I digress – my question to you is, when do you leave a poem for dead? Is it ever actually ‘dead’, or just sleeping gently in a drawer until you bring it out for another airing? Do you have any good success stories about poems you resurrected after a long period of time? I’d love to hear them.

Mags & Blogs/

Mammoth list of literary journals

Worth bookmarking – the Poets & Writers database of lit mags (litmagz?) Salivate over this if you dare –
“listings for 977 journals, providing details about the kind of work sought, authors previously published, submission guidelines, payment policies, tips from the editors, and more”

US literary magazines at Poets & Writers

WOW – nearly a thousand mags?? Why does this kind of list make me feel like I’m in a branch of Staples the size of Wales…

Not that I’ve actually submitted to any yet, but it’s the window shopping that’s fun …

audio/

Audio poem (an experiment)

I was inspired by Mark Hewitt’s performance of ‘expiry tbc‘ the other evening here in Lewes. It was actually a 3-person production featuring Peter Copley on live (and looped) cello, and wonderful lighting effects by Kristina Hjelm. I’d had the privilege of being in Mark’s workshopping group led by Mimi Khalvati earlier in the year, and he had brought along various versions of the text. But although some of the words were familiar, it was amazing how exciting and moving the whole package became with the addition of sound, light and staging. I’ve often fallen into the trap of thinking that performance poetry is mostly about shouting, rhyming and making the audience laugh. But this was something else entirely.

So I went back to my ‘3 voice canon’ poem – the one I sent to Magma for their theme ‘The music of words’ (still open for admissions, by the way) but was rejected, because they said they couldn’t see the connection between the stanzas, and I recorded it the way I envisage it being read. I used a bit of software called Audacity, in which it’s easy to record one track and layer copies of it over the top in a stagger. I was having so much fun I gave it four tracks in the end. So maybe I should re-title it ‘4-voice canon’?

I did it on one take, so I’m sure I could improve on it, although I don’t want to start putting on silly voices or making it over dramatic. Let me know what you think – thanks.

Mags & Blogs/

Would you pay to submit your poetry to a magazine? (Poll)

Here’s a thing. Poetry presses and magazines exist on a shoestring. Sometimes half a shoestring. I’m sure we’d all love to support them by subscribing to them all, but it does get a tad expensive. So what’s the answer?

Charging for submissions seems relatively unusual in this country but it’s not in the US. The New England Review, for example, is very upfront about making a charge for submissions, but they made it sound very reasonable:

“We charge a small fee for online submissions ($3 prose, $2 poetry, $2 NER Digital). This fee, which is waived for current subscribers, helps to support New England Review in its mission to encourage literary innovation and exploration by publishing writers at all stages of their careers. It’s also not much more (and sometimes less) than what you’d pay for postage, paper, and printing. We also think you’ll appreciate the convenience of being able to upload your submission from your own computer.”

So what do you think? Should magazines move to this model, and ditch the vagaries of Royal Mail altogether? Would you agree to paying a pound, say, to submit a handful of poems to a magazine? Is it better to give your money to the poetry magazines rather than the Royal Mail?

If you’re reading this and you run a small press, what are the disadvantages of this system – your having to print out poems? Possible loss of formatting? Too much trouble to set the system up? Would a fee deter people from submitting – and possibly the ones you actually don’t want to deter?

Take the quick poll and please comment – I’m interested to know what you think.

Submissions/

How’s your filing? And what’s in a (folder) name?

Open Lever Arch File

Here’s a pressing question – what sort of filing system do you favour?

Open Lever Arch File

I love my lever arch files, with their colour-coded dividers and lovingly decided section names. But if you leave the filing for a while the ‘unclassified’ section at the front becomes unwieldy, and it’s impossible to find anything. But (for me) at least the process of weeding, filing and sorting paper has a certain satisfaction.

And now to the computer. The very nature of computer filing (the ease with which you can change folder and file names, not to mention the ease with which you can create new iterations of files – or overwrite them – and the limitless capacity of folders) should make it all a doddle. At least you don’t have to grab the tippex or cut up white labels to stick over section names if you change your mind, or buy new lever arch files.

But for some reason I find the ease of computer filing also creates a increased burden of decision-making. I started with a reasonably rational file name: ‘Poetry’. Then a few subfolder names suggested themselves: ‘working on’, ‘magazines’ (which of course needs the sub-subfolder name ‘correspondance’), the hopeful ‘submitted no reply yet’, the victorious ‘published-forthcoming’ and the sad “failed submissions’. (There’s also ‘archive’ which is mostly rubbish which I just can’t bring myself to delete, with the subfolder ‘may be worth re-working’.. and other folders which probably need deleting or consolidating.)

Now, I’m aware that although I choose to call my sad folder ‘failed submissions’, others may use the blunt phrase ‘rejected’. But I deliberately avoid that. I know that I will never look at any folder called ‘rejected’, whereas ‘failed submissions’ seems like a objective, rational sort of category – one woman’s failure is another’s opportunity, etc. And ‘rejected’ just gives too much power to the rejector, in my mind. Having had a few ‘failed submissions’ find their way into the ‘published-forthcoming’ folder, I feel justified in these semantic decisions.

What do you think? Care to share your filing system? Is it important what we call folders?

 

Angst/

Writing musings/ submissions etc

I’ve been grabbing the odd hour here and there to write while my other half watches the cricket highlights each day.

I need to submit some new stuff, so I need to write some new stuff. I’ve tentatively been trying to come up with something ‘humorous’ for the Moss Rich Prize. Yes I know I’ve told myself not to bother with competitions but as this one is local, has extended the deadline (so may be short of entries – ha!) plus the ‘humorous’ tag may put off many of the usual suspects.

So I’ve whipped up four shorties to try on it. Not sure if they’re ‘funny’ as such but should raise a wry half-smile with luck. But that’s just time and money down the drain really, whereas sumitting to magazines is more my bread and butter. I’ve work out at the moment for consideraton at Ambit and Poetry London, neither of which I’ve tried before and I’m not sure if I’ll hear from either for several months. That leaves 2 or 3 poems that are almost publishable, I think. But where to send?

Are they quirky enough for Obsessed with Pipework? Agenda and The North have both closed submissions for the time being. The Rialto has just published one from me and I don’t like to push my luck too often with them as I feel I’m in there by the skin of my teeth. Three forthcoming in Iota but they too seem to have significantly slowed down their production schedule. And Smith’s Knoll? I don’t know… I know the quick turnaround is great but in some ways it seems worse to get a rejection so quickly… it’s extra demotivating somehow, so I’m reluctant to try them again (it would be my 3rd time, and I tend not to pursue a publication more than twice without an acceptance – stupid I know, but there’s something psychological about it.) Plus, their website talks about the current publication being 2010 – I guess it’s hard to keep a website up with that strict 2 week turnaround to stick to, you’re too busy reading submissions. Nevertheless it makes me lose a little confidence in a publication and wonder if they still have an active publication schedule.

Both Charles at Obsessed with Pipework and Patricia at Agenda were most generous about work I have submitted before so I’m inclined to try them again. If what I’ve written is suitable. But then again I could always writing some more. Hmmm!

Angst/

Writing again after a setback

Polite

A few weeks ago I was feeling a bit ‘stuck’ and decided to pay for another ‘Poetry Prescription’ from the Poetry Society. I got the feedback last week and it was less than motivating. Basically my work got sent to the same poet who looked at it last time (I did a ‘PP’ back in 2008 prior to starting to read and write poetry more seriously). He or she was fairly underwhelmed the first time, and gleefully told me in his or her report that he or she remembered having done so.

Sorry about the he/she malarky – I’m not allowed to know who the poet was who laid into my work, ‘to protect their privacy’ – never mind my privacy!

As I explained to Paul McGrane, I’m happy to take criticism of individual poems (which is the point of the exercise) but would rather have had a fresh eye look over the work. This person seems to have made up their mind before even reading the four poems I submitted (based on their prior opinion) and went out of his or her way to make me feel small and useless.

Is this the way the Poetry Society motivates new writers? What a shame. But thanks to the encouragement/wise words of two or three supportive poet friends I won’t let it set me back. OK, I know a lot of what I’ve written isn’t great, but there is some good stuff in there, and I just need to write more of it. Plus, in poetry there are many opinions and this particular critic may never be a fan of mine no matter what I write.

So I’m back writing again, with a few good kernels of poems on the go. Onwards!