Experiences of Disability Issue Open for Submissions

October 1, 2019 § 4 Comments

disability editorsSubmissions are now being accepted for Brevity’s upcoming special issue, “Experiences of Disability,” to be published in September 2020.  You can submit your flash essays here.

For this issue, we invite brief nonfiction submissions (750 words or fewer) that consider all aspects of illness and disability: what it is, what it means, how our understanding of disability is changing. We want essays that explore how disability is learned during childhood, lived over the entire course of a life, and how our changing understanding of disability shapes the way we experience ourselves and others. We are looking for flash essays that explore the lived experience of illness and disability, as well as encounters with ableism, and that show readers a new way to understand the familiar or give voice to underrepresented experiences.

The “Experiences of Disability” issue will be guest edited by Sonya Huber, Keah Brown, and Sarah Fawn Montgomery (shown above). Huber is the author of five books, including the essay collection Pain Woman Takes Your Keys and Other Essays from a Nervous System. Brown is a journalist and author of the essay collection The Pretty One: On Life, Pop Culture & Other Reasons To Fall In Love With Me. Montgomery is the author of the recent memoir Quite Mad: An American Pharma Memoir.

Our anchor author, Esmé Weijun Wang, is the author of the New York Times-bestselling essay collection, The Collected Schizophrenias (2019), for which she won the Graywolf Nonfiction Prize. Her debut novel, The Border of Paradise, was called a Best Book of 2016 by NPR. She was named by Granta as one of the “Best of Young American Novelists” in 2017 and won the Whiting Award in 2018.

Submissions will be accepted through Brevity’s Submittable page until March 1, 2020. Those for whom Submittable is not accessible or for whom the reading fee of $3 would be prohibitive can email their submissions to brevitydislit@gmail.com with the subject formatted as SUBMISSION: (Title) by (Name).

Editors gladly accept donations on the GoFundMe for the Experiences of Disability issue, which has a $1,800 goal for the special Brevity issue. This will pay authors and provide honoraria for anchor authors. Any additional money above this amount will be contributed to Brevity, to help with web-hosting fees and other ongoing expenses.

“Experiences of Disability” – A Brevity Special Issue

September 18, 2019 § 21 Comments

EsmeWang_Media_1

Esmé Weijun Wang

Brevity is excited to announce an upcoming special issue, “Experiences of Disability,” to be published in September 2020 and featuring anchor author Esmé Weijun Wang. The submission period will begin on October 1, 2019.

We invite brief nonfiction submissions that consider all aspects of illness and disability: what it is, what it means, how our understanding of disability is changing. We want essays that explore how disability is learned during childhood, lived over the entire course of a life, and how our changing understanding of disability shapes the way we experience ourselves and others. We are looking for flash essays (750 words or fewer) that explore the lived experience of illness and disability, as well as encounters with ableism, and that show readers a new way to understand the familiar or give voice to underrepresented experiences.

disability editors

Huber, Brown, Montgomery

The “Experiences of Disability” issue will be guest edited by Keah Brown, Sonya Huber, and Sarah Fawn Montgomery. Brown is a journalist and author of the essay collection The Pretty One: On Life, Pop Culture & Other Reasons To Fall In Love With Me. Huber is the author of five books, including the essay collection Pain Woman Takes Your Keys and Other Essays from a Nervous System. Montgomery is the author of the recent memoir Quite Mad: An American Pharma Memoir.

Our anchor author, Esmé Weijun Wang, is a novelist and essayist. She is the author of the New York Times-bestselling essay collection, The Collected Schizophrenias (2019), for which she won the Graywolf Nonfiction Prize. Her debut novel, The Border of Paradise, was called a Best Book of 2016 by NPR. She was named by Granta as one of the “Best of Young American Novelists” in 2017 and won the Whiting Award in 2018.

Submissions will be accepted through Brevity’s Submittable page starting on October 1st.Those for whom Submittable is not accessible or for whom the reading fee of $3 would be prohibitive can email their submissions to brevitydislit@gmail.com with the subject formatted as SUBMISSION: (Title) by (Name).

Editors gladly accept donations on the GoFundMe for the Experiences of Disability issue, which has a $1,800 goal for the special Brevity issue. This will pay authors and provide honoraria for anchor authors. Any additional money above this amount will be contributed to Brevity, to help with web-hosting fees and other ongoing expenses.

Write Funny, Win Money

August 22, 2019 § 8 Comments

Ever wondered how to get into McSweeney’s, the New Yorker’s Shouts and Murmurs, the Belladonna, Slackjaw, or another prestigious humor site? It’s not easy, but it’s not hard—write something very funny, make sure it fits the venue’s tone, send it in.

Step one tends to trip us up. How can you write funny, on demand?

Writing comedy is a learned skill. Yes, some writers start with more talent than others, but it’s not talent that makes an essay hilarious. Humor comes from a great premise (that you thought up after discarding 50 similar-but-not-as-good ideas), a specific point of view (that took a couple of drafts to get to) and tight, focused writing with careful word choices (that took another few drafts to whittle out of the initial bloated, semi-funny word glob).

Here’s a chance to learn the skill, and maybe win some money and/or publish your own comedy writing.

Slackjaw, Medium’s most-read humor publication (90,000+ followers), wants to support humor writers—and aspiring humor writers—everywhere, with their first Humor Writing Challenge.

Most writing contests are set-it-and-forget-it. Send in your work and hope for the best. This one’s different. Participants in the contest will be pitching ideas (so they can choose the best/funniest one to write), getting peer feedback, and re-writing. An online community will provide support and direction to contestants. Even if you don’t have a burning desire to write comedy, this process can introduce you to collaborative idea development, and how to solicit and implement editorial ideas in your own work. Plus, you’ll have deadlines to generate some specific assignments, and motivation to rewrite and sharpen your work.

The judges panel includes comedy writers for The Onion, Comedy Central, The New Yorker, McSweeney’s, etc, and there’s $2000 in cash prizes. Finalists will have their work considered for (paid) publication on Medium, too.

If you want to publish humor writing, or you need a kickstart on your autumn writing plan with a fun, supportive environment, consider signing up for Slackjaw’s Humor Writing Challenge.

Find out more and sign up here.

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Allison K Williams is Brevity‘s Social Media Editor. Find her at Hippocamp Creative Nonfiction Conference this weekend, or follow her on Twitter and Instagram for choice bits of conference writing advice.

Wandering Aengus Press Book Awards

April 29, 2019 § 2 Comments

dandelion-2733649-1920-pixabay_origWandering Aengus Press has launched its inaugural book awards and is now accepting creative nonfiction manuscripts as well as manuscripts in fiction and poetry (and hybrids too). We will publish up to three prize winners this year. The press is dedicated to publishing works to enrich lives and make the world a better place, because why not do as much good as we can in the world with what little time we have?

The deadline to submit is May 31, 2019. The sooner you send in your manuscript, the more time our editors will have to spend with it, so for your own sake, please don’t wait til the last minute.

The Wandering Aengus editors will select the winning manuscripts, and we’ll announce the winners by September 1, 2019. The winning manuscripts will be published as perfect-bound books by Wandering Aengus Press or our imprint, Trail to Table Press, with full distribution via Ingram. Winners will receive 50 copies of their book. Authors will have input into the cover design and interior design.

Learn more and submit your best work at http://wanderingaenguspress.com/index.html.

Kiese Laymon Judges 2019 New Ohio Review Nonfiction Contest

April 12, 2019 § 1 Comment

mississippi-body2By Madison Foltz and David Wanczyk,

We are thrilled to have award-winning memoirist Kiese Laymon as the judge of our 2019 New Ohio Review nonfiction contest. The deadline is April 15. The winner will receive $1000, and this year we are happy to announce that two dozen honorable mention pieces—spread across poetry, fiction, and nonfiction—will be published either in our print magazine or online at newohioreview.org. All entrants receive a one-year subscription.

In his frank, powerful new memoir, Heavy: An American Memoir, Laymon writes about his American experience, about pains both physical and cultural. And as the memoir’s title implies, much of the book deals with Laymon’s struggles with body image.

Martha Anne Toll writes in her review of Heavy for NPR, “Laymon intersperses stories of friends and girlfriends and teachers and books with a narrative about food—both its attraction and revulsion. His body is a character in this memoir, the body of a black man, objectified by the culture, threatened and threatening because of America’s long, ugly history of racial oppression.”

Laymon explores his childhood in Jackson, Mississippi, which was filled with violence, familial betrayal, and beatings, alongside his later expulsion from Millsaps College, a gambling addiction, his eventual graduation from Oberlin, and his battle against racism. Throughout his story, he also links his own writing and struggles to those of authors like Toni Cade Bambara and Richard Wright. Like their work, Heavy is intense, powerful, important. And it’s difficult to read at times. It’s not only the story of a black male body trying to find its place in America, but also the story of all the reasons why that place may never be found. Laymon, with a pulsing, melancholic, hurt-but-indomitable voice, highlights how personal demons and toxic behavior can form a maelstrom within us that can keep us from thriving. “The nation as it is currently constituted,” he writes, “has never dealt with a yesterday or tomorrow where we were radically honest, generous, and tender with each other.”

We are excited to work with Laymon because he is offering that kind of artistic reckoning.

A professor of creative writing and English at the University of Mississippi, Kiese Laymon has authored a full-length novel, Long Division, and a collection of essays titled How to Slowly Kill Yourself and Others in America. His reviews, essays, and stories have appeared in publications such as Vanity FairOxford American, and LitHub, among others. His writing is characterized by razor-sharp observation and reverberant-colloquial eloquence that also exposes his deepest vulnerabilities. And Heavy is an example that pulls no punches.

Please submit your pulls-no-punches essay. Your radically honest memoir. Your generous, tender-funny hybrid form. Your unignorable short-short. Laymon, we think it’s fair to say, has been through plenty. We know he will be excited to see your story.
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Madison Foltz is the New Ohio Review intern and David Wanczyk is editor of New Ohio Review.

CFP: Assay, Special Issue on Nonfictional Forms of Engagement

March 5, 2019 § Leave a comment

time-keepers-1A note and opportunity from Assay Editor-in-Chief Karen Babine:

Call for Proposals – Assay 6.2 Special Issue (Spring 2020)

  • 250-word proposals due March 15, 2019
  • Essays of 2,000-3,000 words due July 1, 2019
  • Publication: Spring 2020

Assay is thrilled to announce that our Spring 2020 issue (6.2) will be guest edited and themed around nonfictional forms, as they relate to mediated concepts of truth and reality, and with a particular hope that the texts and writers will come from outside the United States. Our guest editors are Anastasia Ulanowicz (University of Florida), Manisha Basu (University of Illinois Urbana-Champaign), and Brenda Glascott (Portland State University) and speaking as Assay’s editor, I’m so excited about how they’re going to bring their conversations to our audience, with formal scholarship, informal analysis, and pedagogy. If you’re not familiar with their work, please check them out!

The theme of the issue will be significantly informed by critics such as Rob Nixon, Henry Twidle, Walter Benn Michaels, and Ian Jack, who have each accounted for a late 20th and early 21st century “boom” on the global stage of non-fictional forms of engagement. However, unlike these scholars, this special issue seeks to understand not why a particular narrative form emerges at a particular time, but what its effects are in its particular context. What, they ask, do the kinds of textual transactions that constitute the nonfictional turn have to do with what Rob Nixon has called “the cultural industrialization of the real”: who do they speak for, why do they matter, and to whom? In the face of authoritarian appropriations of reality, nonfictional textualities foreground the crucial idea that reality does not exist outside the regimes for its own production and circulation—and they demonstrate how those regimes may in fact be transformed to constitute a new politics of reality.

Global nonfiction. Forms of nonfiction. Authors of nonfiction outside the United States. India. Australia. Eastern Europe. Ireland. Graphic nonfiction. Memoir. Literary journalism. Essays.

These subjects—and their writers— have long been of interest to us at Assay and we’re so excited to spend an entire issue on them. While this issue will consider the ideas of mediated reality, we are not interested in the American arguments over truth-vs-fact. That said, we’d love to see work that challenges these ideas in other contexts.

We hope the issue investigates what we might call “a commerce of textualities” by reading literary/creative/narrative non-fictional works constituted in mixed modes of writing at the intersection of journalism, life-writing, history, urban-studies, and archival reconstruction, and technology.

As always, Assay is interested in the wide variety of how analysis of these writers and texts can happen, from formal articles, to more informal analysis suitable for our Conversations section, and nonfiction pedagogy. If you have questions or queries, please send us a note at assayjournal@gmail.com. Please share our CFP among your colleagues and students who might be writing seminar papers or conference papers as we speak.

You might consider a proposal on (but of course your idea should not be limited to what’s here)—

  • the long-standing tradition of colonial/anti-colonial travel writing (and who is doing the travel writing outside of the American tradition? Perhaps you might consider writing on Dervla Murphy or Jan Morris?)
  • the impact of Tom Wolfe and the new journalism (1970s), but you might also consider how Nellie Bly might fit into this conversation.
  • the significance for investigative journalism of the ‘history from below’ series at the University of Witwatersrand (1980s)
  • the influence of Slavenka Drakulic’s Café Europa (1996) in altering Soviet-era assumptions of the essay as a self-interested form
  • the increasing demand for a dynamics of testimony, globally, in the shadow of the HIV/AIDS crisis
  • Svetlana Alexievich’s “polyphonic writings” with the Nobel prize for literature in 2015 (she’s the first woman to win for nonfiction and we haven’t seen any submissions on her since her win—we’d like to change that).
  • the emergence of graphic memoirs and graphic reportage (e.g., Joe Sacco, Igort, and don’t miss Reshmi Mukherjee’s piece on Kate Evans from the Spring 2019 issue.)
  • the significance of epistolary forms and diaries as nonfiction forms
  • critical methodologies in archival research
  • the emergence of new approaches to Indigenous literary and cultural forms (e.g., the peoplehood matrix)
  • the pedagogy of these writers, texts, and considerations in literature classrooms, composition and rhetoric classrooms, as well as creative writing classrooms. (As always, the pedagogy needs to be analytical and based in theory, not simply lore.)

Please send proposals, including keywords and a brief bio, to Anastasia Ulanowicz (aulanow@ufl.edu) and Manisha Basu (mbasu@illinois.edu). Any questions should be sent to Karen Babine at assayjournal@gmail.com.

 

Matador Review Call for Submissions

July 6, 2018 § 1 Comment

From our Friends at The Matador Review:

summer2018coverAlternative art and literature magazine The Matador Review is now accepting submissions for the Fall 2018 publication. We publish poetry, fiction, flash fiction, and creative non-fiction, inviting all unpublished literature written in the English language (and translations that are accompanied by the original text) as well as many forms of visual art. The call for submissions will end August 31, 2018.

When asked by author Angela Yuriko Smith what we’re looking for, Editor-in-Chief JT Lachausse replied:

“We want what you haven’t seen. Allow me to be dramatic: Imagine that every piece of art is represented by a stone. Many stones make up the mountains and buildings, but even more hide beneath the surface. We are so familiar and fond of the overground rocks, but in the caves and oceans-deep, there are stories that tell things wildly. Desperately, furiously, without great laborious sanitizing or editorial puncturing.”

More information on submitting to The Matador Review can be found at our submissions page.

 

 

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