I attended several panels on publication, a panel on the sonnet (in case you don't know, my graduate lecture was about the modern sonnet), a panel on revision, another on translation and a very interesting panel on balancing work for an arts organization with the creative life.
Panels on publication were among the best-attended, as if there were a secret system for getting one's work accepted. There isn't. These panels reinforced common sense: Treat your work and the editors with respect and complete professionalism. Know the publications to which you send your work, which means read or subscribe to those publications. Send only your best, completed work. If you are still revising, you're sending it out too soon. Do not send anything that is cliché or slick. Do not make the assumption "big-named" journals are the best. Do send work with a strong voice that begs the reader to keep reading and re-reading. Learn how to submit online. Online submissions are far more the norm than postal submissions.
Several editors reported receiving submissions anywhere from four to five figures, which can lead to a hefty backlog. Many of these publications report acceptances at a rate less than .50 of 1%. Keep these figures in mind when you send your work to the most "popular" publications.
I'll discuss some of the other panels and the book fair in upcoming posts.
Showing posts with label Poetry Publication. Show all posts
Showing posts with label Poetry Publication. Show all posts
Thursday, April 16, 2015
Monday, September 29, 2014
Should you or shouldn't you submit to a journal where you've worked?
Here is an interesting note from Michael Nye, Managing Editor of the Missouri Review: http://www.missourireview.com/tmr-blog/2014/09/ethics-publishing-literary-journals/
If you have worked on staff at a literary magazine, what is your opinion?
If you have worked on staff at a literary magazine, what is your opinion?
Wednesday, July 30, 2014
What! Fall reading? It's still July!
Friday opens the 2014 Fall reading season, the most opportune time for poets to have their work considered for publication by the largest number of journals seeking unsolicited submissions. The floodgates at Submittable, Submission Manager, Tell It Slant as well as the inboxes on editors' desks and emails open beginning August 1 through September 15.
What you can expect to see this fall: Sadly, there will be an increase in the number of publications requiring reading fees in order to consider your work. No, these are not contest fees. Despite what some journals like to call their fees, they are money required for a journal's staff to read the work you submit to them, hence "reading fees." Reading fees that journals charge range from $1 per submission (usually 3-5 poems) to $10 per submission. The former and latter are very rare; reading fees in the 2013-2014 reading period averaged $3 per submission.
There will still be plenty of publications reading for free. Personally, as a poet, I am more inclined to support a journal without reading fees. But we need to be open to paying a journal for the privilege of reading our work. It stings. Poets rarely get paid when their work is accepted for publication. However, many journals are staffed by volunteers who believe in the value of literary pursuit and find fulfillment in publishing our work. I can much more easily accept not being paid for my work when I know the editors choosing to publish it have no monetary gain to do so.
What else? Expect an increase in online submissions with a corresponding decrease in postal submissions. This is not a new trend. Online submissions will continue to grow for the foreseeable future.
Finally, is the migration of more publications to the internet from print. Cost is the greatest driver behind this movement. Migrating away from print is not a bad thing. Consider how many potential readers your work may reach on the internet when published by a quality online journal as opposed to the number of potential readers finding your work in print.
What does this mean for Poetic Effect? Fall reading will be as busy as ever. Calendar slots will fill quickly. If you are interested in having submissions of your work prepared during fall reading, email me Claudia@poeticeffect.com to reserve your place in the queue. Reservations are on a first-come, first-served basis.
What you can expect to see this fall: Sadly, there will be an increase in the number of publications requiring reading fees in order to consider your work. No, these are not contest fees. Despite what some journals like to call their fees, they are money required for a journal's staff to read the work you submit to them, hence "reading fees." Reading fees that journals charge range from $1 per submission (usually 3-5 poems) to $10 per submission. The former and latter are very rare; reading fees in the 2013-2014 reading period averaged $3 per submission.
There will still be plenty of publications reading for free. Personally, as a poet, I am more inclined to support a journal without reading fees. But we need to be open to paying a journal for the privilege of reading our work. It stings. Poets rarely get paid when their work is accepted for publication. However, many journals are staffed by volunteers who believe in the value of literary pursuit and find fulfillment in publishing our work. I can much more easily accept not being paid for my work when I know the editors choosing to publish it have no monetary gain to do so.
What else? Expect an increase in online submissions with a corresponding decrease in postal submissions. This is not a new trend. Online submissions will continue to grow for the foreseeable future.
Finally, is the migration of more publications to the internet from print. Cost is the greatest driver behind this movement. Migrating away from print is not a bad thing. Consider how many potential readers your work may reach on the internet when published by a quality online journal as opposed to the number of potential readers finding your work in print.
What does this mean for Poetic Effect? Fall reading will be as busy as ever. Calendar slots will fill quickly. If you are interested in having submissions of your work prepared during fall reading, email me Claudia@poeticeffect.com to reserve your place in the queue. Reservations are on a first-come, first-served basis.
Tuesday, September 17, 2013
Publication and Reading
The fall calendar has been rapidly filling with poetry readings, classes, and publications.
Here in Rochester, the second Fringe Festival begins this weekend. A group of poets, led by Wanda Schubmehl, will be reading the work generated from her latest project--a poetry chain gang. Participating poets responded to one poem from another participating poet. The poem generated was then be passed along to another poet. None of us (yes, I am a participant!) saw any other poem than the one given to each of us until the project was completed. The reading will be this Saturday, September 21 at Writers & Books, 740 University Ave., Rochester, NY. We'll start at 4:00 pm, so arrive early for the best seat! This is a free reading. As a result of Wanda's efforts, FootHills Publishing will also produce a chapbook with all of our poems.
Please head over to Conte Online where my poem "14th. St., Buffalo, NY" appears. I am grateful to the editors for including my work and for asking me to record the poem being read in my voice, something I have not previously done. Let me know what you think. http://www.conteonline.net/issue0901/
Here in Rochester, the second Fringe Festival begins this weekend. A group of poets, led by Wanda Schubmehl, will be reading the work generated from her latest project--a poetry chain gang. Participating poets responded to one poem from another participating poet. The poem generated was then be passed along to another poet. None of us (yes, I am a participant!) saw any other poem than the one given to each of us until the project was completed. The reading will be this Saturday, September 21 at Writers & Books, 740 University Ave., Rochester, NY. We'll start at 4:00 pm, so arrive early for the best seat! This is a free reading. As a result of Wanda's efforts, FootHills Publishing will also produce a chapbook with all of our poems.
Please head over to Conte Online where my poem "14th. St., Buffalo, NY" appears. I am grateful to the editors for including my work and for asking me to record the poem being read in my voice, something I have not previously done. Let me know what you think. http://www.conteonline.net/issue0901/
Tuesday, September 03, 2013
The Merits of Online Literary Journals
As the fall 2013 reading period opens, I want to address the issue of online literary journals and the merits of having work published by them.
The most obvious benefit is the size of the potential audience. While print publications are, for the most part, quite limited in their press runs, online publications have the possibility of readership limited only by the scope of the Web. This potentiality is heavily augmented by the reach of social media: Facebook pages, Twitter accounts, blogs, RSS feeds, etc., where the Word of the Web spreads more quickly than the word of mouth ever could.
Another important consideration is the development of relationships with other poets, publishers, and editors outside of your immediate environs that can lead to further publication opportunities, invitations to read, and invitations to attend and/or lead workshops.
Then there is the Google factor. When a reader comes upon your work online, that reader is able to search the Internet for more of your work, an expanded bio, and your general reputation within the larger community of poetry.
Will your work be perceived as lesser in status by appearing online versus in print? The answer to that question differs with each reader. We all have that one friend or family member who refuses to enter the digital age but is that one person your target audience? Who is in your target audience? Could those individuals who might appreciate your work the most be the same people who spend their days connected to their technology simply because of its portability?
A friend says to you, "Hey, I just read the most awesome conceptual poem." You ask, "So, can you lend me the mag?" She says, "No. But I can show it to you on my smart phone." That poem is available for the reading anywhere there's wireless, immediately.
An often-heard argument against online lit mags is their quality compared to print. I find this argument to be less valid as time progresses and as the quality of successful lit mags increases with each publication cycle. What matters and is key, is the reputation of the publication, whether in print or online.
Arguably, print publication is still far more desired for the purposes of academia, but even there the gap is closing.
Granted, online publication is never going to be the same as holding that perfect-bound journal in your hands. It is, however, the path of our words, at least until an electro-magnetic pulse shuts down everyone's electricity.
I would be interested to read your feedback.
The most obvious benefit is the size of the potential audience. While print publications are, for the most part, quite limited in their press runs, online publications have the possibility of readership limited only by the scope of the Web. This potentiality is heavily augmented by the reach of social media: Facebook pages, Twitter accounts, blogs, RSS feeds, etc., where the Word of the Web spreads more quickly than the word of mouth ever could.
Another important consideration is the development of relationships with other poets, publishers, and editors outside of your immediate environs that can lead to further publication opportunities, invitations to read, and invitations to attend and/or lead workshops.
Then there is the Google factor. When a reader comes upon your work online, that reader is able to search the Internet for more of your work, an expanded bio, and your general reputation within the larger community of poetry.
Will your work be perceived as lesser in status by appearing online versus in print? The answer to that question differs with each reader. We all have that one friend or family member who refuses to enter the digital age but is that one person your target audience? Who is in your target audience? Could those individuals who might appreciate your work the most be the same people who spend their days connected to their technology simply because of its portability?
A friend says to you, "Hey, I just read the most awesome conceptual poem." You ask, "So, can you lend me the mag?" She says, "No. But I can show it to you on my smart phone." That poem is available for the reading anywhere there's wireless, immediately.
An often-heard argument against online lit mags is their quality compared to print. I find this argument to be less valid as time progresses and as the quality of successful lit mags increases with each publication cycle. What matters and is key, is the reputation of the publication, whether in print or online.
Arguably, print publication is still far more desired for the purposes of academia, but even there the gap is closing.
Granted, online publication is never going to be the same as holding that perfect-bound journal in your hands. It is, however, the path of our words, at least until an electro-magnetic pulse shuts down everyone's electricity.
I would be interested to read your feedback.
Tuesday, August 06, 2013
Literary Journal Reading Fees
Last week, I did something I hoped I would never do. I paid a reading fee to a literary journal for the submission of my work.
I have made my feelings about reading fees clear in the past and they have not changed. Why would I break with my own protocol? I had prepared the submission file and begun the process with the journal's online submission software and got to the point where payment appeared. I'll admit to being torn. My initial reaction was to close the window and move on. But, I had questions. Would the non-contest reading fee this journal charges in any way make a difference in how my submission fared? Could I expect a more timely response?
I wanted answers that would only satisfy me from personal experience. So, I paid the $3.00, knowing it probably would not make a difference in how my submission would be handled and I took comfort that I was at least monetarily supporting the journal.
Just to reiterate my feelings about non-contest reading fees, I compare the trend to airline baggage fees. Once one airline started charging, others soon followed until just about every airline in existence now charges baggage fees. It is taking a bit longer to catch on in the publishing industry, but charging reading fees for non-contest submissions is undeniably a growing trend.
In theory, these reading fees should not be objectionable. Publishing poetry and other literary creative writing is not a money maker. Most journals exist from the desire of people who love quality literature and want to share that literature with the world. Noble. Admirable. We should be grateful for these people and the publications they produce, whether online or in print. I am grateful. Truly.
However, as a poet, I can tell you from personal experience that, for the most part, poetry does not pay monetarily. There is a bit of the sting of the pay-for-publication stigma, whether or not that sentiment is justified. Many wonderful poets can't afford reading fees; they have a difficult time just paying their bills. What are the implications of excluding these poets? Will there be a difference in the quality of the poetry published due to a smaller submission pool?
As fall reading begins and new guidelines are being rolled out, I am monitoring the trend.
If you are an editor of a literary journal, please share your thoughts on this subject.
I have made my feelings about reading fees clear in the past and they have not changed. Why would I break with my own protocol? I had prepared the submission file and begun the process with the journal's online submission software and got to the point where payment appeared. I'll admit to being torn. My initial reaction was to close the window and move on. But, I had questions. Would the non-contest reading fee this journal charges in any way make a difference in how my submission fared? Could I expect a more timely response?
I wanted answers that would only satisfy me from personal experience. So, I paid the $3.00, knowing it probably would not make a difference in how my submission would be handled and I took comfort that I was at least monetarily supporting the journal.
Just to reiterate my feelings about non-contest reading fees, I compare the trend to airline baggage fees. Once one airline started charging, others soon followed until just about every airline in existence now charges baggage fees. It is taking a bit longer to catch on in the publishing industry, but charging reading fees for non-contest submissions is undeniably a growing trend.
In theory, these reading fees should not be objectionable. Publishing poetry and other literary creative writing is not a money maker. Most journals exist from the desire of people who love quality literature and want to share that literature with the world. Noble. Admirable. We should be grateful for these people and the publications they produce, whether online or in print. I am grateful. Truly.
However, as a poet, I can tell you from personal experience that, for the most part, poetry does not pay monetarily. There is a bit of the sting of the pay-for-publication stigma, whether or not that sentiment is justified. Many wonderful poets can't afford reading fees; they have a difficult time just paying their bills. What are the implications of excluding these poets? Will there be a difference in the quality of the poetry published due to a smaller submission pool?
As fall reading begins and new guidelines are being rolled out, I am monitoring the trend.
If you are an editor of a literary journal, please share your thoughts on this subject.
Friday, February 03, 2012
2012 Fence Modern Poets Series Winners Announced
Fence Books has announced two winners of the 2012 Fence Modern Poets Series prize. The winning books will come out in the fall of 2012. They are Eyelid Lick, by Donald Dunbar of Portland, Oregon and In the Laurels, Caught, by Lee Ann Brown of New York City and Marshall, North Carolina. Congratulations to both.
Thursday, January 05, 2012
Poem Published in Ruminate
With the new year comes a new publication to announce. My poem "Smoke and Cloud" appears in Ruminate Issue 22: Up in the Air http://www.ruminatemagazine.com/issue-22-up-in-the-air/. Ruminate's tag line is "Chewing on life, faith and art." This is an appropriate venue for my most recent work since my writing leans in a more spiritual direction. This work is also less narrative than most of my published poems.
Please check out the web site and let me know what you think. Purchasing a copy of Issue 22 will also be appreciated, by the magazine and me.
Please check out the web site and let me know what you think. Purchasing a copy of Issue 22 will also be appreciated, by the magazine and me.
Saturday, May 21, 2011
New Publication Opportunity
Architrave Press, founded by Jennifer Tappenden, is a new venture committed to "bridging the gap between intelligent poems and artful readers." This is a unique publishing opportunity for your poems, under 33 lines per poem. For more information visit http://architrave.submishmash.com/Submit.
Wednesday, March 10, 2010
March Update
Spring has arrived early in western New York. Crocuses bloom through melting snow just as many literary journals have ended their winter reading and many Poetic Effect clients will soon be seeing their responses in the mail/email. Currently, more than 250 print journals are considering poetry submissions. Many of these will close to submissions when the tulips and lilacs are in full color here in May. Full-length book manuscript contests are at their peak with 35+ reading right now. More than 20 chapbook contests are running as well. If you would like to get into the Poetic Effect spring queue, get in touch soon info@poeticeffect.com.
Congratulations to Poetic Effect clients who have recently had work accepted by Southern Indiana Review, Pearl, Inkwell, Chaffin Journal, Roanoke Review, Worcester Review, Blueline, River Oak Review, Soundings Review, Eureka Literary Review, Avocet, South Dakota Review, Clackamas, Yalobusha Review, Red Wheelbarrow, Coe Review, and others.
AWP, the largest conference for writers and writing programs, will be held in Denver next month. I will be blogging about various panels and other writing-related news. I hope to see some of you there.
The Just Poets Reading Series and Open Mic will be featuring James Cook (tonight), Sue Ann Wells (April), Suzanne Slack (May), and contributors to Le Mot Juste 2010 (June). The reading series is held at 7:00 pm the second Thursday of every month (except December) at Barnes & Noble, Pittsford.
Congratulations to Poetic Effect clients who have recently had work accepted by Southern Indiana Review, Pearl, Inkwell, Chaffin Journal, Roanoke Review, Worcester Review, Blueline, River Oak Review, Soundings Review, Eureka Literary Review, Avocet, South Dakota Review, Clackamas, Yalobusha Review, Red Wheelbarrow, Coe Review, and others.
AWP, the largest conference for writers and writing programs, will be held in Denver next month. I will be blogging about various panels and other writing-related news. I hope to see some of you there.
The Just Poets Reading Series and Open Mic will be featuring James Cook (tonight), Sue Ann Wells (April), Suzanne Slack (May), and contributors to Le Mot Juste 2010 (June). The reading series is held at 7:00 pm the second Thursday of every month (except December) at Barnes & Noble, Pittsford.
Friday, January 29, 2010
Publication in Euphony
My poem "Preservation" appears in the just-released Winter 2010 issue of Euphony http://euphonyjournal.com/current/. Enjoy!
Wednesday, December 30, 2009
Congratulations to Donna Marbach
Congratulations to Donna Marbach for her recent publication in Redactions Poetry & Poetics. Check out issue 12, guest edited by Rob Carney, which also includes work by Christopher Kennedy and James Grabill.
Monday, December 21, 2009
Publication in 2009 Chaffin Journal
I just received my contributor's copy of the 2009 Chaffin Journal where my poem "Hide" appears. I am pleased to have my work published along side that of fellow Bennington grads David Scronce and especially my classmate Susan Howard Case who passed away earlier this year.
Tuesday, April 21, 2009
Cinquainicity: The Adelaide Crapsey Project
The chapbook Cinquainicity: The Adelaide Crapsey Project is on display all this month at Poets House in NYC. This chapbook, published by Palettes & Quills, features five series of linked cinquains as the form was defined by Adelaide Crapsey. M.J. Iuppa created and organized the project which includes 28 poets.
The form is syllabically driven: first line -2 syllables, second line -4 syllables, third line -6 syllables, fourth line -8 syllables, last line -2 syllables. Each poet began a cinquain with the last line of the cinquain written by the preceding poet.
I had the privilege of being the captain of the chain with poets Nici Knebel, Francis Bragan Richman, Jan Wenk Cedras, Cynthia Iannaconne, and John Roche.
For information on purchasing this chapbook visit www.palettesnquills.com.
The form is syllabically driven: first line -2 syllables, second line -4 syllables, third line -6 syllables, fourth line -8 syllables, last line -2 syllables. Each poet began a cinquain with the last line of the cinquain written by the preceding poet.
I had the privilege of being the captain of the chain with poets Nici Knebel, Francis Bragan Richman, Jan Wenk Cedras, Cynthia Iannaconne, and John Roche.
For information on purchasing this chapbook visit www.palettesnquills.com.
Saturday, April 18, 2009
Publication in Blueline
My poem "Girl with Laurel" appears in the latest issue of Blueline, published by SUNY Potsdam. Joining me in issue XXX are fine poets M.J. Iuppa, Adam Wilcox, and Karla Linn Merrifield. As of this writing, the new issue is not listed on the Blueline web site. Check back with the site for ordering details.
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