WH's Upcoming Call-Outs to Writers

In September, I issued WH's First Call Out to Writers, and printed the results (Writers on rejection)  earlier this month.

I'd like to schedule this as a regular feature because I enjoy hearing from other writers and feel I have a lot to learn, especially from better-published writers. In order to give writers a longer period in which to respond, I'm listing the topics for the next two Call-Outs below, along with a request for ongoing information on online writers' tools. 

Instructions

Please send your responses to me via my email thebethblevins -at- gmail.com, and put  "Writing Home" in the subject line so it will get through spam filters. Please reply to one topic per email to make it easier for me to know what you're talking about. The deadline for responses is given with each topic.

Topics

1. DEADLINE: NOVEMBER 12, 2008

If you don't work as a professional writer (i.e., write for money): how do you reconcile your writing life with your career? Do you work in a related field, or in an environment that totally takes you away from pen and paper (or computer) all day?  Do you find things in your workday to write about, or does your writing come from a totally separate part of your life and experience? How do you make time to write?

2. DEADLINE: DECEMBER 12, 2008

How do you keep track of your submissions—and publications/contests to submit your work to?  In my August 4 post, I wrote about the wonderfully tactile way that writer and instructor Nancy Naomi Carlson keeps track of her submissions. I'd like to hear if there are other ways to do this, which writers have found easy or especially beneficial. I'd also really like to know how you keep up with all the contest deadlines out there, if you regularly submit pieces to contests.

3. DEADLINE: ONGOING.

What are your favorite writers' magazines, web sites, blogs? How do you use them? Why do they particularly appeal to you?  Your responses will help me add links to a list of writers' resources in the right column of this blog. Feel free to send suggestions anytime and I'll add them as I receive them; unless you say so otherwise, I may sometimes print the comments you send about the resources in occasional blog posts. 

Writers on rejection

These are some of the responses received to the WH Call Out on how writers deal with rejection. Strangely, no men wrote back, only women, which makes me wonder if male writers face less rejection, if they blow it off more easily than women, or they just don't want to talk about it—?

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Nan K. Chase
Since I'm writing for money, not for deep self-expression necessarily, I don't take rejection personally. A rejection at the "pitching" stage is due to:

• poor research about the market
  
• poor query (weak lead, errors)
  
• weak story idea
  
• etc.
  

Rejection farther along is due to the same things, plus wrong word count and generally poor writing.

Analyse the mistakes, fix them, send it out again. And don't take it personally—it's important to always get over yourself.

Nan K. Chase's books include Asheville: A History (McFarland & Company, 2007) and Bark House Style: Sustainable Designs from Nature (Gibbs Smith, 2008) with co-author Chris McCurry. She lives in western North Carolina.

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Kim Dana Kupperman
I file the rejections I receive (I have a thick file that corresponds to my ever-thickening skin). It has long been a dream of mine to wallpaper a bathroom with these rejection letters and notes. I don’t own my own home or bathroom so the project is stalled for the moment. However, the plan would consist of making a collage with the rejection slips for each piece next to the cover of the journal in which they finally appeared.

I’m now at a point where, if I receive a handwritten note from an editor, I consider that a “good” rejection. Only writers could come up with the notion of a “good” rejection! But seriously, those handwritten notes are an invitation to keep going and keep submitting. An editor (who penned such notes to me and then finally accepted my work) told me that authors who received such notes were called “legendary” amongst staff at the journal while writers whose work was accepted were welcomed as “family.” I really liked that distinction.

Rejection is a way of life in this adventure called writing. I use it to remind myself that what passes as “good” writing is a matter of individual taste. Today’s periodical literature is so exciting because it’s not being chosen by one or two editors, but by hundreds, all with a different aesthetic. What doesn’t work for one editor will for another. I learned a long time ago that being rejected doesn’t mean I am being rejected, it means my work—as I submitted it—doesn’t light up the heart of the particular reader or (as is the case at many journals) group of readers.

For more on Kim Dana Kupperman, see the Writing Home Writer Profile about her.

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Angela Render

I used to keep the rejections in a file folder until I moved and decided they weren't worth hauling to the new house. Now rejection doesn't bother me at all. I think the key to dealing with it is to remember that the person did not reject YOU. They rejected a piece of writing that might not have been mature yet, or that hit them at an inappropriate time. Two weeks earlier or six months later and it might have been accepted. Since timing is so important to getting published, it's worthwhile to resubmit a piece to a place that's rejected you if:

1) The editor has moved on to another job.
2) A world event has suddenly made your piece timely.

Angela Render is a professional web developer who writes historical fiction, science fiction, fantasy and cross-genre romantica. For more information, visit her website: AngelaRender.com.

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Lalita Noronha
I treat rejections the way I do my weight. I go up and down with the process; I may slow down, but I never quit! First I read every word of the rejection letters, even the boiler-plate replies, wipe my tears (it’s true!) and then faithfully file those treasures. Then, I return to some of my favorite quotes:

"Anyone who cannot come to terms with his life while he is alive needs one hand to ward off a little his despair over his fate... but with his other hand he can note down what he sees among the ruins."
--Franz Kafka

"I discovered that rejections are not altogether a bad thing. They teach a writer to rely on his own judgment and to say in his heart of hearts, 'To hell with you.'"
--Saul Bellow

"This girl doesn't, it seems, have a special perception or feeling which would lift that book above the 'curiosity' level."
--From a rejection slip for "The Diary of Anne Frank" (as quoted on http://www.thinkarete.com/quotes/by_teacher/Unknown ).

Born in India, Lalita Noronha is a research scientist, teacher, poet, author and an editor for The Baltimore Review. Her literary work has appeared in over 40 journals, magazines and anthologies. Her short story collection is entitled Where Monsoons Cry (Black Words Press, 2004). Her website is http://www.lalitanoronha.com.

Finding ways to track submissions

As a first step toward getting over my increasing inability to submit my writing to outside publications, I took a workshop on Publishing for Poets and Fiction Writers with Nancy Naomi Carlson at the Writers Center this weekend.

One reason I hate to submit my stuff is that I have never figured out how to track it. Do I file the rejection letters or throw them away and move on? Do I keep tabs of all the publications I send things to, by individual piece submitted, or by journal title or both? If both, how do I cross-reference the two things? Do I set up a database and, if so, what kind? Excel?

My mind gets lost thinking about all the things I could do with submissions (I really don't know how to cross-reference things in a database) and then a sort-of panic sets in, especially when combined with the dread I always have of getting another rejection note.

Imagine how delighted I was, then, when Carlson pulled out a wooden box, a little larger than a shoebox, and from inside it bundles of 4" x 6" index cards--one for each poem she had submitted, one for each journal submitted to. Poem cards were in one section, journal cards in another.

Each poem card listed which journal the poem had been submitted to, in chronological order. Each poem card also had rejection letters attached to them with a paperclip. If accepted, the journal title was marked with orange highlighter and the card was pulled and put into a separate bundle for poems that had been accepted.

After 20 tries, she said, she revisits the poem to see if it should be revised or just put away.

20 tries? I don't think I've ever submitted 20 times all together. Light bulb moment: this may be one reason I have not been widely published.

Carlson keeps a separate card of all her rejections--761 in all, in chronological order. But, she reminded us, she has been published more than 100 times, and 1 in 7 tries isn't all that bad.

I'd love to hear from other writers about how you track your submissions. At this moment, however, I am aiming for Carlson's example of the primitive and tactile, as a start.