Posts Tagged ‘submissions’

The Art of Implication: replying to emails

If there’s one thing I’ve learned over many years of replying to email as an educator and a literary magazine editor, it’s to take a deep breath before writing a reply and to imply the things I’d like to say. So you can imagine the reply I might have sent to the submitter tone our literary magazines who wrote to complain that we had returned a submission that was getting recognition elsewhere.

In my reply, I acknowledged that our review process is imperfect and subjective, and I mentioned some of the factors that can play a role, from the typos in a submission, to the length, to the themes that emerge as an issue of the journal comes together. I also encouraged him to read our journal to better understand our choices, and I defended our practice of offering a discount to all those who submit, even if their work is returned. What I didn’t say is that no one is obligated to subscribe, but I did note that we have back issues posted online with free access.

The advice I didn’t give, but I hope was implied, is that writing snarky responses to rejection notices rarely helps your chances when submitting to journals. Editors work hard and try to make the best decisions they can. We know you’ll be disappointed when we don’t take your work, but we expect you to develop a thick skin and not take it personally.

I could have said this explicitly, but I doubt the person who wrote would have taken it very well. Keeping the tone positive is more likely to get the desired result. Of course the other option would be not to reply. Sometimes no answer is the best answer.

More Advice for Poets

This is a follow-up post to the one I made recently about Poetry Submissions. This week, I placed two poems in Valley Voices, and on the recommendation of editor John Zheng, I sent 3 haiku to Asahi Haikuist Network who took them for upcoming issues in October and next May.

What I learned from this (or was reminded of) is that it is good to form friendships and connections with other editors. Without John’s suggestion, I might not have found Asahi Haikuist Network, which I’m now glad to be able to read and to publish in. Haiku isn’t the main style of poetry that I write, but I suspect that reading more will inspire me to write more. I have a series of haiku that I worked on for my 4th manuscript and may continue to add to. Most were published in Poetry South when John was the editor, but these newer ones hadn’t found a home until now (and I hadn’t sent them out until now).

The other lesson I discovered about submitting poetry is to put your best poems first. That may seem obvious, but in reading submissions I am often surprised by the number of poets who don’t do that — or maybe they think they are doing it, and I just don’t like Poem 1 as much as Poem 4. You do your best and you should try to put the best poem for the magazine you’re submitting to first — the order may change depending on where you’re submitting.

Often in a submission, I treat it like a mini-collection. Most journals want 3-5 poems, so that’s less than a cycle, but there’s still probably a logic to the poems you send out together. I hope a journal might pick up more than one, but I still feel the submission is stronger if I send related poems. Now and then, though, especially for a magazine I’m not as familiar with, I will send a fairly random group of poems. Still, I want the tone to be about the same (humorous or deep, for instance). Thematically, the poems may be different, but something should connect them.

I want an editor to like the group of poems I’ve sent and even to consider accepting all of them. I know the reality is that an editor will then choose the poem or maybe 2 poems they like the best, but giving a good total impression will help sway the decision in the favor of the 1-2 poems they like best.

Having one of those poems first in the submission file is imperative. A reader may not make it past Poem 1, and if they do, their opinion of the poet will be colored by the poem they read first, so the subsequent ones may not get as close attention if Poem 1 doesn’t strike a chord. I know that’s true for me when I’m reading. It’s only human nature and is influenced by the sheer bulk of submissions any reader for a magazine is likely to encounter.

Making a decision about the oder of poems in a submission is part of taking the proper care to submit work that is polished, proofread, and carefully revised. It’s part of the process that an editor will appreciate. And if all the poems in a submission packet are of roughly equal quality (I know as the writer it can be hard to make those determinations), then each poem should build on the previous one and lead into the next. Consider your submission as a whole and not as individual pieces of paper that you’ve thrown out into the wind.

Poetry Submissions

It’s been a busy period, getting classes started, welcoming new students to our MFA program, and working on the schedule for next semester — yes as an administrator, I always have to be thinking ahead! Yet maybe the most fun part of the new academic year has been spent with poetry submissions, which I’m looking at from both sides now.

On the one hand, all summer in any spare moments I can find, I’ve been reading poetry submissions for Poetry South. This is our second issue of editing the magazine, and this time I vowed to take a more active role. With Issue 8, I let our Literary Magazine Production class take the lead in reading through the slush pile, and I weighed in more with the final decisions and with putting the magazine together. Once the class moved on to focus on our other literary magazine Ponder ReviewI took on the slush for Poetry South.

Last semester that was a trickle and was fairly manageable to do on my own, but as we put out a call for submissions and as our annual July 15 deadline loomed, I knew I would be overwhelmed, so I did call in reinforcements with 3 volunteers over the summer. We received about an additional 180 submissions. Reading them has been fun and challenging, and it has given me insights into my own submission process:

  1. I need to submit more and to more places. Editing a magazine drives home the old advice that every journal has way more submissions than they can possibly use. So you need to get your work out to many places. I still don’t like doing too many simultaneous submissions, but I have quite a few poems, so I need to keep them out there, and when a magazine has had them for awhile, I’d rather send those poems somewhere else and then withdraw from whoever accepts first.
  2. There’s a lot of pretty decent poetry out there. Some of it may be better than others, but what gets accepted often has more to do with what strikes an editor’s fancy than absolute quality. Maybe a poem works well with another poem that’s been accepted. Or maybe the editors don’t want two similar poems in the same issue. Judgements can be arbitrary and subjective (but when you’re accepted, it’s still a sure sign that your poem was the best).
  3. I will try to avoid submitting close to a deadline — I’m looking further out and trying to submit while there’s still a fair amount of time left. I know from my reading experience that the last poems in chronological order are likely to get less attention. On the other hand, I’m still looking for a few really good submissions, so it’s never too late. The bar may be higher, but a great poem will still get noticed.
  4. I will look for calls for submission in some of the same places I post them — Submittable, CRWROPPS, Duotrope, etc. I know when I do that many others will be submitting but the journals are actively seeking submissions. I also go back to some of my favorite journals and try to catch them when their submission periods are starting. I set reminders for myself if there’s a place I really want to target.
  5. I will keep submitting even if submissions keep getting returned. I know how overwhelmed journal editors are (and Poetry South is a small magazine with many fewer submissions than most). I can’t take it personally, though I will take any individualized note about a submission personally. If someone takes the time to do that, then I’m happy.

The nice thing about working with Kathleen, Xenia, and Tammie on Poetry South is that I don’t feel I have to catch everything. If I’m tired and therefore don’t pay close attention to a poem, one of them wi’ll let me know if they saw anything in it. If someone liked it, I’ll give it another look. If it didn’t speak to anyone, then we’re probably safe passing on it and letting another editor at another magazine take it. Nobody’s perfect, and if we miss a great poem, well, so be it.

Besides reading submissions, I’ve been sending poems out. I’m trying to target my submissions better (always) and trying to shoot for better placement in magazines with larger subscription bases and bigger reputations, though I’m also looking for good little magazines that maybe I haven’t heard of. I want to send to a mix of magazines so my odds of getting accepted are better, and yet the chance of getting in a top market is good.

And I wrote my publisher, Texas Review Press and sent them a book proposal for poetry collection #4, currently with the working title of Breathe and Other Poems. Let’s see if they bite…

Publish Your Poetry Book (Without Getting Scammed)

Recently, I received an email from a local writer, asking for advice on how to publish a book of poems. I’ve never read her poetry, so I could only give general advice, and since I get this kind of question a lot, I thought I’d post my reply here.

Publishing a book of poetry can be a long and arduous process, so be patient and don’t give up! Poetry publishing in the U.S. is not extremely lucrative for publishers or for the poet, so it is hard to find a publisher who is willing to take on an unknown or little-known author. But there are are ways. There is a lot of competition and it can take awhile to get noticed. Here are a few ideas and resources that might help.

Before publishing a book, most poets publish in magazines. That gets your name out there and helps develop a readership. Publishers also look for evidence that other editors have approved of your writing when they evaluate your work (at least if the work isn’t submitted anonymously, which is sometimes a requirement). So seek out good literary magazines and send the individual poems to them before you start shopping the book manuscript around. Once poems are published in a book, they usually can’t be republished in a magazine, but poems published in a magazine often end up in a book. So you want magazine publication for a good number of your poems before they are accepted in a book.

Poets & Writers is one of the best resources for information on poetry magazines. I’ve also found that Lit Line, New Pages, and The Poetry Resource Page have good indexes of literary magazines with links to the magazine’s websites. Research many of them, read what they have online, and subscribe to some. This will help you get a sense of what is being published and where it is published. In a small way, you’ll also be supporting the industry you want to be a part of.

But you may already be doing this. Another thing to do that will help you know whether your writing is publishable (yet), is to join a writing group. If you have friends who read your writing now, that is great. If those friends also publish, even better. If you want to go to the next level, then consider attending a summer workshop or other writing seminar (or taking a class or going to an MFA program). There are many opportunities for week or month-long writer’s seminars or colonies. The sites I mentioned will have lists of these opportunities. Though it’s not required that you earn an MFA or go through a seminar to publish, it can be an invaluable experience, where you learn more about your craft, but also learn about the publishing process and make new writer friends, possibly even network.

Finally, to actually publishing your book. Many first poetry books these days are published through a contest. The entry fee helps fund the publication costs, and the reputation of the contest helps guarantee an audience for the published book. It’s nice to be able to say you won a prize (though frankly, publishing a book is prize enough for many of us!).

Just beware about the prizes that are out there. There are many legitimate ones and many scams. A legitimate first book prize will usually have an entry fee that is anywhere from $10 – $50 ($25 seems to be about the norm, though, so I’d look carefully at a much more expensive one). It will pay a prize and publish your book — often you get some copies as part of your prize. Many will publish more than just the first-place manuscript. You will enter with your whole book manuscript, and you often get a copy of the winning book or a subscription to a literary magazine along with your entry fee. A legitimate first book prize will also usually announce the name of the judge, and will follow guidelines aimed at keeping the judging legit (no friends or former students may submit, for instance). The Council of Literary Magazines and Presses has a code of ethics for contests. if a contest follows this, that is a very good sign.

Contests with no entry fee are often scams (the costs pile up later). Some are notorious for accepting anything sent to them, no matter how ridiculous (and people have tried to get rejected). There is no fee, but you are expected to purchase an expensive anthology, then flattered and offered an expensive conference and other perks that come at a price. If you’re not familiar with the source of the contest, do some searching to find out if it is legit before you send them your work.

You can also query publishers directly. You should know a lot about the publisher before you do this, though. Read their books to know whether your work is likely to be a good fit for their readers. If you feel you’re ready to go this route, then read their submission guidelines to be sure they will take ‘over the transom’ submissions. Usually you would send a sample from your manuscript, about 10 pages, along with a cover letter. If they’re interested, they’ll get back to you. If they aren’t, you’ll likely get a polite form letter. Don’t feel bad, though. Any press that will accept unsolicited manuscripts likely receives hundreds of query letters. Agents generally won’t work with an unpublished poet, either. Which is why contests are the first avenue for many writers.

Note that there are chapbook contests (for manuscripts of 24-48 pages, as a general rule), first book contests (48+ pages, though more than 80 is probably getting too long), and open book contests (open to any poet and not any poet who hasn’t published a book). There may be some other types of contest guidelines, but those are the most frequent. Obviously your chances are better in a first book competition, though that doesn’t mean you might not win an open competition. It’s all up to the judge, especially when the entries are anonymous, as they often are.

So how can you win a contest or get a publisher to notice your book? The obvious response would be to write really good poems! That may not always be enough, however. It is also important to craft a good book. The order of poems and structure of the book is integral to its success. Revising and polishing poems between submissions and reordering and rethinking the thematic structure of the book can lead to a stronger manuscript. Don’t just print them in the order that you wrote them, in other words. Look for recurring themes, emotions, ideas. Consider a structure that ties these together. Be willing to cut the poems (even published poems) that don’t fit the book — maybe they’ll make it into your next one!

As you read books of poetry, look for patterns the poet may have used to order the manuscript. Though it may not be obvious, I used a seasonal pattern in Time Capsules. Think about possible models or read about the process of composing a book. Though I haven’t read it, a good friend, poet Anna Leahy, has recommended Ordering the Storm by Susan Grimm for its thoughts on moving from manuscript to finished book. You might enjoy Anna’s conversation with three other poets about their first book experience, published on Bookslut.

Publishing a book can be a long, drawn-out process. If approached with the right attitude, it can be rewarding and not just frustrating. But it will be frustrating, more than likely, so do have a support group of friends who write and encourage each other. There is nothing better for your self-esteem when the rejections come back (and they will) than knowing that there are people you respect who respect your writing. If you don’t have a group like this yet, then seek one out. Good luck!