Well, the good news keeps on coming! Tequila Sunrise has been accepted by Foliate Oak Literary Journal, so 2010 already sees me as a thrice published author! It looks like they are a monthly journal, so it will be in print before you know it!
For my birthday this past year, my wonderful boyfriend got me a very thoughtful and practical gift – the 2010 edition of Writer’s Market. For those unfamiliar with writer’s market, it is the authority on listings of book publishers, consumer magazines, trade journals, literary agents, and pretty much any other place you could possibly send a manuscript. No doubt about it – it’s a resource you need if you’re going to be a serious writer.
It’s also on the pricey side, as in you can’t remove from the reference section in the library. One great feature about the 2010 edition (10 years newer than my previous copy) is an included free year’s subscription to their website, www.writersmarket.com, which allows you to get involved in writer communities, sign up for webinars, and track submissions. I’ve been using the site for about eight months, and every time I use it, I get more and more frustrated.
First, the site is slow slow slow slow slow. That’s five slows. Dialup on a rotary phone slow. The first time I accessed the site, I wondered if I had a malformed URL. I didn’t. It’s just seriously that slow. Doing anything on the site takes about twice as long as it should. As a professional geek, I’d really like to take a look at their log files to see how long their server calls take and see what the hell is killing the site speed. If I could tell Writer’s Market to change one thing, it would be to speed up the site.
Second, their search logic is TRBL (pronounced tur-ri-bull). Instead of doing the smart thing every search does, and list search results by relevance, they list them in alphabetical order, based on the full text of the associated page.
So, for example, when I search for a magazine called The Aesthetic, the search returns every market that includes the word “aesthetic” in their description, guidelines, or any other field on the market’s page, and since most markets try to describe what kind of aesthetic they are looking for, it returns a lot of results (slowly, I might add).
Which, for a magazine that starts with A, is not a big deal, but if I do the same search for Frank (which is an actual literary magazine), I get 10 pages of unnecessary search results, and the entry for Frank is on the fourth page of a search that takes 10 seconds, and another 5 to go to the next page.
I could go on and on with examples of how TRBL the searching is, but the site is currently timing out because I keep “overloading” it with queries.
Third, the site uses Silverlight to do its submission tracking. I don’t know a whole lot about Silverlight, but from what I’ve come to understand it’s an applet of some kind that sites can use to embed. The problem I have with the Silverlight web applet is that because the site is already Godzilla-after-biscuits-and-gravy slow, loading the flash animation for your foldering tree takes forEVer. And while it does a great job of caching the market information, you have to submit each manuscript one by one.
So, for instance, I have 5 poems to send to a literary journal. I search for the journal, save it to “My Markets,” access the Silverlight applet that is My Markets, find the folder, then submit one poem. After I enter the date information (which should REALLY default to today), I start over again. Silverlight reloads, I find the same journal in the same tree, and submit one more poem. And because the site is so slow, this takes a long time.
My fourth beef: there is no mechanism to withdraw a submission, which you have to do if you have any simultaneous submissions that get accepted somewhere else. Instead, you have to go into the Silverlight interface, access the submission record in the tree, and mark it as a rejection. I get enough rejections without having to fake one.
Okay, so I’m a little harsh on site usability – but if you’re going to go web, do it right. I haven’t used the community forums much, mostly because it takes so long to navigate, but it looks like there are a lot of resources out there. And of course, tracking submissions in the Silverlight interface is a helluva lot more accurate and organized than I could ever manage – but it’s a web applet, so it’s supposed to do the work for me.
I’d be really interested to see Writer’s Market do some site rework, get some beta testers, and solicit some real feedback about what they could do to improve the site experience and eliminate the redundant work in tracking submissions.
In this second segment of the analysis of why it is literally (no pun intended) impossible to make a living as a writer. Today we’ll be discussing a little item writers know all too well and hate just as much as the new fall lineup on CBS: the SASE.
What is an SASE? It is a self-addressed stamped envelope. For any publication that is too behind the times to have an online submission manager (which we’ll discuss in a later segment) or accept submissions via e-mail, the writer must send his or her manuscripts on papyrus in a stamped envelope, and if they want to know if their work has been accepted or rejected, they must include a self-addressed stamped envelope in the same envelope.
This prevents the publisher from having to look at your cover letter, grab an envelope from the copy room, write your address on it, slap a stamp on it, and stuff it with your rejection notice. It’s a lot of work, so they pass it on to their submitters.
For any writer that wants to send a simultaneous submission, the SASE is crucial, because you have to wait for rejection before you can send the same manuscript anywhere else. So, you eat the 45 cents (probably soon to be 50) and double your out-of-pocket expenses to send your manuscript for submission.
Then comes the moment you open the mailbox and see a 3×5 envelope with your handwriting on the cover. There are few worse feelings than opening the mailbox and seeing an envelope you swiped from the mail room at your 9-5 with your own address slathered on the front in your orange pen in your own handwriting. You know it’s a rejection. You just know it.
Then, there are the large percent of SASEs that never get sent back, so you’re just wasting 45 cents on something that is slower than an old man in a Cadillac DeVille in the first place.
So who still uses SASEs, besides publications?
And that’s about all I could find. An SASE is a receptacle for a rejection, and nothing more. And the more I read about the SASE, the more empowered I feel to not include them anymore. After all, I won’t send my stuff to anyone that doesn’t accept simultaneous submissions. And I can use that 45 cents for happy hour at Sonic.
p.s. In researching this topic, I came across this post on a thriller writer’s blog. He is now added to my Google Reader, which I will not be giving up for Lent.
Happy Mardi Gras everyone!
I have had 2 of my poems officially accepted for publication in the 2010 issue of Clackamas Literary Review – so I am a real life author now! When the journal is published, you’ll be able to see my name in print.
Hip Hip Hooray!
Ask anyone who’s ever tried to make a living just by selling their fiction, poetry, articles, etc. how it goes. Okay, this is an unfair question, because you will not be able to find someone who is not an uber-celebrity makes a living solely on writing, because they don’t exist, unless they are living in their Grandma’s basement.
Writing and submitting one’s writing to companies is a labor of love. It has to be. I recall in one of my classes in college, way back when, my professor said that the last person to make a living as a poet was Alexander Pope. For those of you not familiar with the works of Alexander Pope, he died in 1744. This may not be 100% true, but in reading about Maya Angelou, arguably the most famous living poet, it doesn’t appear that even she had a period in her life where her only source of income was her writing.
There are many reasons why it is absolutely impossible to make a living as a writer, and this series is going to explore some of them. Today’s reason: the simultaneous submission.
What is a simultaneous submission? It is any submission of a piece of work – a poem, a short story, a novel – that is “under consideration” by more than one publishing source at a time. A submission is under consideration from the time it hits the mailbox (or inbox, if you’re lucky) until the time it is either accepted by the publisher or rejected. If a publisher accepts simultaneous submissions, you can take one poem, send it to that publisher, and then turn around and send it to another publisher that accepts simultaneous submissions a few minutes later. It’s a standard “don’t put all your eggs in one basket” scenario.
Unfortunately, there are a great number of publishers out there that refuse to accept simultaneous submissions, especially when it comes to larger works such as novels and short story collections. What this means is that if you’ve already sent a manuscript to another publisher, and they haven’t accepted or rejected it yet, you can’t send it to this one. You have to wait until every place you’ve sent that manuscript has either accepted the manuscript – in which case you can’t send it anywhere else anyway – or rejects it.
Once that happens, you can now send your manuscript to the place that does not accept simultaneous submissions, and wait for them to accept it or reject it before you can send it to anyone else. How long do we wait? Well, I could give you estimates, but I think it’s more fun to see what actual publishers say about getting back to their writers:
We do not accept simultaneous submissions. All submissions must be in English. Usually, it takes 3 months for us to let you know if your submission has got what we are looking for (poetry submission will take a longer time due to backlog). Sorry, we do not return submissions–we delete them! So we advise you to save a copy of whatever you are submitting to us.
Our reading period is October 1 – March 1. Submissions will not be returned. We will contact via e-mail by September 1st those authors we wish to include in the forthcoming issue. [That means if we haven’t contacted you by that date, you can presume the work has not been accepted.]
We prefer not to receive simultaneous submissions. Response time for manuscripts is six to nine months. Thank you again for your interest.
This is only a small sample of the kinds of limitations publishers put on writers. Six months is a long time to go without a paycheck and hope that a publisher will give you a chance. And even if they don’t, hope that they’ll give you a heads up that they don’t, instead of just having you assume after X time that they’re not going to publish you.
For the publications that do accept simultaneous submissions, if you are lucky enough to get your work picked up somewhere, you have to inform every place you sent that manuscript and ask to withdraw it from consideration.
Yes, the publishing world is out of touch. If publishing houses were employers, it would be like putting in your resume at one prospective employer, who will not allow you to put in your resume anywhere else, and wait 6 months before you know if you will get an interview or if you need to move on. And during that 6 month period, you can’t apply anywhere else. And every employer in the business is like that. Yeah, I’d reconsider my career choice, too.
Consider this the official launch of KellyHitchcock.com! Stay tuned for more news about the book, new poems, new short stories, and other rants and raves. Subscribe for updates, and enjoy the Superbowl!