November 28, 2016 § 1 Comment
From Slag Glass City:
CRACKS IN THE SIDEWALK: What Fractures Our Cities?
Slag Glass City, a digital journal of the urban essay arts edited by Barrie Jean Borich, seeks inventive and beautifully made nonfiction work from across artistic discipline that circles, questions, contradicts, aggravates, decries, implores, or offers remedy to the experience of URBAN FRACTURE—including: election protests, police violence, gentrification, racism, classicism, homophobia, transphobia, ableism, religious intolerance, immigration tensions, guns, domestic abuse, protest, development, neglect, loneliness—or anything from micro aggression to cataclysm that creates fissure, disconnection, and brokenness.
We are accepting submissions November 20, 2016 – February 20, 2017. You may submit nonfiction prose, graphic memoir, video, sound, image + text, photography, mixed media, or any other form of the nonfiction essay arts. The work our 2016 editorial board selects will be published in the online journal AND considered for our miniature print editions.
To SUBMIT TO THE CITY for this themed call go to: http://tinyurl.com/SlagGlassCitySidewalkCracks
To visit the journal itself, go to: slagglasscity.org
If you have QUESTIONS please email this address: email@example.com
November 21, 2016 § Leave a comment
As we move toward the reality of Donald Trump’s pending presidency, many artists are responding, and Rock & Sling wants to produce a cross-section of that work, to be released at AWP in D.C., two weeks after the Inauguration.
We are looking for any kind of artistic reaction to the election and the weeks that have followed. Photo-documentary, essay, allegory, graphic shorts, fiction, satire, poems, visual art: we want it. What are your fears or frustrations? Your hopes or hesitations? We want to hear from the whole spectrum, all of the kinds of reactions we see. We want to hear from undocumented artists and from Christians, from Muslims and artists of color, and from conscientious conservatives.
Rock & Sling is a journal of witness. We believe that the power of witness, of truth-telling, is a good human act and a good human outcome, enabling the reader to enter the life of another self and thus to grow in empathy, compassion, and understanding.
Submissions information can be found here:
November 21, 2016 § Leave a comment
From The Woven Tale Press Editor-in-Chief Sandra Tyler:
The Woven Tale Press is an interactive online literary and fine arts magazine, and our mission is to grow traffic to noteworthy writers, photographers, and artists across the World Wide Web. By growing this Web traffic, we aspire to garner the interest of galleries and literary agents who may turn to our pages seeking new talents. Today, WTP has a combined following of 9,000 and over 2,700 site hits per month.
Since its inception in 2013, The Woven Tale Press has been through quite an evolution. While I knew it would be Web-based, my initial focus was to feature noteworthy bloggers; I had been blogging for a couple of years, and was frustrated with how quickly posts were relegated to my archives, how my Web presence was largely obscured by the vastness of cybersphere.
This obscurity on the Web can seem analogous to that of the lone writer or the artist in his studio, and for me, to my own mother; growing up, I witnessed how she persevered through self-doubts and disappointments to hone her own unique statement as a visual artist, and quite literally, in the obscurity of our cellar—The only truly bright light was a reflective one, off of a canvas, fresh paint glistening in the dull glow of a single overhead lamp. That is how I remember my mother’s paintings, quite literally luminous in an otherwise dark space.
My mother’s years of painting in that cellar can serve as an apt metaphor for what we strive for at WTP: To bring to light works by writers and artists who otherwise may be toiling away in their own “cellars.” For every artist’s or writer’s website, there is that creative soul persevering in isolation, to hone his or her own unique statement, be it on a canvas, the page, or in any other medium. And it is a perseverance often plagued with doubts: Am I any good? Am I just wasting my time?
These are age-old questions with every new rejection, and for many, these questions may go unanswered. But validation in creative endeavors is much about being seen or heard; artists and writers long for an audience, and in this digital age, recognition in cybersphere is rivaling that in the brick and mortar world. As editor-in-chief of The Woven Tale Press, I am always seeking out others toiling away, to illuminate those talents hidden in the shadows across the World Wide Web.
Besides our magazine, we have much to offer on our site: features ranging from interviews and cutting-edge videos, to book, art reviews, and even website reviews. We also offer guidelines to how to get your own website up and running within an hour — this is a prerequisite for publication in our magazine; our way of nudging serious artists and writers to develop a Web presence if they haven’t already. A must in this digital era!
Your literary nonfiction is welcome, whether it be an excerpt from a memoir or a piece of short or flash nonfiction. Like the Brevity Blog, we would also love to publish your reviews or works about your own artistic process.
Take a look at our latest issues at www.thewoventalepress.net and consider submitting at http://www.thewoventalepress.net/how-to-submit/. Any questions can be directly to me at editor(at)thewoventalepress(dot)net.
November 16, 2016 § 4 Comments
A note from The Think Write Publish Science & Religion project:
As part of our effort to facilitate dialogue between these two ways of knowing the world, Creative Nonfiction and Issues in Science and Technology magazines are seeking original narratives illustrating and exploring the relationships, tensions, and harmonies between science and religion—the ways these two forces productively challenge each other as well as the ways in which they can work together and strengthen one another.
We welcome personal stories of scientists, religious figures, or (just as important) everyday people seeking to explore or reconcile their own spiritual and scientific beliefs.
Editors of both magazines will award up to $17,500 in prizes, plus publication.
With little more than a month to go before the deadline of December 12, I hope you’ll consider sending in work, as well as sharing information about this opportunity with others.
November 15, 2016 § 9 Comments
Older Queer Voices: The Intimacy of Survival—A call for submissions in response to the harder times that have come back around.
Do you remember surreptitiously flipping through your library’s card catalog to search out who you were and finding only references to “the male homosexual” or “sexuality, aberrant” and no listings at all for gender? Did you strain to hear when your parents lowered their voices to talk about “those” women who lived together in a house at the end of the block? Do you remember the closet? Do remember the Johns Committee? How about the Reagan era when access to women’s, to all people’s, healthcare was curtailed, people with disabilities lost access to key services, and the AIDS crisis emerged?
Those of us who survived these years can help recreate the edifices of care and activism that we once constructed for ourselves and then perhaps abandoned because they were no longer needed. It’s time to reach back and get them. Our experience, the successes we had, the mistakes we made, the voices of those who were left out, and the ways we thrived can be added to the already formidable power of younger generations of queer folk as we gather together in resistance.
Co-editors Sarah Einstein and Sandra Gail Lambert are looking for creative nonfiction and poetry for an online anthology to launch shortly after President Trump is sworn into office. Tell us your stories of not only what you survived, but especially the particular mechanisms of how you found your “people” and the ways you supported and celebrated each other.
Older Queer Voices: The Intimacy of Survival
Co-edited by Sarah Einstein and Sandra Gail Lambert
An online anthology scheduled for release in early spring.
Creative nonfiction and poetry. No upper or lower word limits. Previously published pieces accepted but the author must own the rights
Deadline: As soon as possible. January 10th at the latest.
Possible AWP reading.
Submit to: firstname.lastname@example.org
September 6, 2016 § 3 Comments
Right now, podcasts are a thing. Podcasts about accused murderers, about science, about old Hollywood. And many, many podcasts about personal stories. Ever listen to This American Life or The Moth and thought, I have a story that would be great for that show?
You probably do.
So what’s the process? How does the story get from your head (or the essay you already wrote) to the airwaves?
First, listen to the show(s) you want to be on. Different programs have very different styles and subject matter, and the story that’s perfect for Risk! is going to be terrible for Radio Ambulante. If a program is broadcast on the radio rather than solely on the internet, they have FCC restrictions on language and content. Some shows have a presentation component, where the first step is showing up at a live show and sharing your story in front of an audience (eek!).
Then think about your story, and whether it’s right for radio. As it happens, most of the points that make a good podcast story are the same things that make a good essay. On their pitch page, This American Life says:
…each of these stories is a story in the most traditional sense: there are characters in some situation, and a conflict. These pitchers are clear about who the characters are and what the conflict is. Also: each of these stories raises some bigger question or issue, some universal thing to think about. That’s also pretty important, and you stand a better chance at getting on the air if you let us know what that is too.
Radio stories are sold with a “pitch.” Instead of sending a whole story, you craft a pitch email–it’s a lot like a query letter–and submit your idea. At Transom, a site with hundreds of resources for radio storytellers and independent producers, Ari Daniel gets even more in-depth with seven tips for successful pitches, including:
Pitching a story about a generic idea — a group of people losing money on their subprime mortgages, say — isn’t nearly as effective as finding one or two people experiencing that issue who can illustrate the broader idea.
…If there’s any reason why the story needs to be aired soon, mention that. This is called a news peg.
…Don’t worry about chasing press releases and embargoed about-to-be published studies. It’s likely that staff journalists will cover these. I like to look for stories that aren’t yet on the news radar. In fact, most of my story ideas emerge out of casual conversations.
If you’re feeling like a total beginner (which is a great place to start) Youth Radio breaks it down for teens, and it sure helped me navigate at the beginning. That page has a great interview with Radiolab’s Robert Krulwich, too.
Snap Judgment even has a handy flowchart to see if you have a story (scroll down on the linked page).
Most of the shows that accept pitches have very specific and detailed guidelines. It may be challenging to structure your story to fit their mold, but it’s not hard to find the instructions. In learning to pitch, I found two things incredibly helpful:
- As an exercise, I listened to podcasts I wanted to be on and wrote pitches for the stories I heard on the air. This helped me identify characters, conflict, bigger issue, and see how stories were structured for particular shows.
- I downloaded archived sessions from the Third Coast International Audio Festival. Each year their conference includes Getting to Yes: The Art of the Pitch, and listening to people pitch their ideas to radio producers, and the producers picking them apart (kindly) helped me understand what does and doesn’t make a story. After you’ve listened to two or three sessions, you’ll start saying, “No! That’s not a story! But if you came at it from this angle…” before the pitcher even finishes their spiel.
Another great resource on story structure is This American Life’s Radio: An Illustrated Guide. It’s a $2 PDF download, and it’s so useful an approach to “what makes a story,” I think you should get it even if you never want to be on the radio.
On Thursday, I’ll be back here on the Brevity blog to talk about the process of actually presenting and/or taping. Meanwhile, check out some pitch guidelines, and see if one of these shows is the right match for your story.
This American Life (it’s a treasure trove including sample pitches that succeeded)
The Moth (with a link to tips for telling live stories)
AIR’s pitching page, with links to many shows and how-to-pitch resources
Allison Williams is Brevity’s Social Media Editor, and has appeared on The Moth GrandSLAM, Snap Judgment, and CBC’s Love Me and Definitely Not the Opera, among others. She’ll be hosting the upcoming Brevity podcast.