August 15, 2017 § 6 Comments
It’s time once again for the intermittent Brevity Podcast! Listen right from this post, or click over to iTunes, Soundcloud or Stitcher. If you’re subscribed, we’ll show up in your podcast app queue. And wherever you listen or download us, please take a moment to leave a brief review–it helps us show up in searches and recommendations.
Episode #5 features an interview with Dinty W. Moore, our very own Editor in Chief and founder of Brevity. Dinty will be keynote speaking at the Hippocamp Creative Nonfiction Conference September 8-10 in Lancaster, Pennsylvania.
Show notes and links to people, places and things we’ve discussed are below. Next episode, we’ll be talking with Donna Talarico-Beerman, Editor in Chief at Hippocampus and the Hippocampus Press.
Show Notes: Episode #5 People and Books
It’s the wrong time of year for Peeps, but catch them around Easter. If you’re looking for Samuel Pepys, find out more here. You can also read his exhaustive diary, one of the great records of 17th-Century London, including eyewitness reports of the Plague and the Great Fire of London.
June 9, 2017 § Leave a comment
From The Matador Review‘s Public Relations Liaison, Mandy Grathwohl:
Alternative art and literature magazine The Matador Review is now accepting submissions for the Fall 2017 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 We publish poetry, fiction, flash fiction, and creative non-fiction, inviting all unpublished literature written in the English language (and translations that are accompanied by the original text) as well as many forms of visual art.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.
Our purpose is to promote “alternative work” from both art and literature, and to encourage the new wave of respect for online publications. In each issue, we offer a selection of work from both emerging and established artists, as well as exclusive interviews and book reviews from creators who are, above all else, provocative. For us, alternative is a way of voice and experience. It is the distinction from what is conventional, and it advocates for a progressive attitude.
Editor-in-Chief JT Lachausse spoke to the Aerogramme Writers’ Studio about Matador’s aesthetic:
For every piece of quality art or literature, there is a home. Some ‘homes’ include work that is regionally or culturally inspired, and some are reserved for particular genders, sexualities, or ethnicities. This sort of exclusivity creates an environment for distinct voices, and due to its distinction, these magazines are considered ‘alternative’ (syn: ‘different’, ‘nonstandard’). What we wanted to do was to open up a home for art and literature that is, in every capacity, unconventional; this could mean a ‘fresh’ voice, or perhaps a peculiar style, or maybe a bizarre subject that would otherwise struggle to find a place willing to parade it. …The Matador Review wants all of your redheaded stepchildren, but we want them on a damn good hair day. And they better not behave.
We look forward to seeing your work!
The Matador Review acquires First North American Serial Rights, and is a non-paying market. More information and contact info on their submissions page.
October 18, 2016 § 13 Comments
You know the old saw. Tourist asks a New Yorker: “How do you get to Carnegie Hall?” Wiseguy answer: “Practice, practice, practice!”
So, how did I get published in Brevity Magazine?
For several years, Brevity was on my list of literary venues I vowed to crack. Why?
First of all, I love reading Brevity. That’s reason enough. While I drift most naturally to writing longer essays than Brevity’s 750 word limit, over the past few years I’ve been intrigued by flash nonfiction, and have been writing more of it. To me, Brevity is the mother ship for short nonfiction. Brevity also consistently publishes writers whose work I admire; who doesn’t want to share literary real estate with the cool writing kids? Finally, once I put a publication on that “to be cracked” list (which stares at me from a whiteboard in my office), it’s game on.
Even if the game takes three years and six rejections before a Yes.
Lesson number one: Persistence.
One thing that kept me submitting was my history with Brevity—kept handy in my Excel spreadsheet—included many “nice notes”: Moved by your story…Sorry to say no to this one…Try us again…Writing is impressive, but…” As an editor at a lit journal myself, I know those salvos are only handed out when an editor means it.
Lesson number two: Believe the feedback.
Studying the rejected pieces, I saw they were all based on something pulled out of a longer work-in-progress. It’s not that I didn’t work hard at condensing/rewriting (all eventually found publishing homes). But now I understand that one big reason the accepted piece worked is that I wrote it for Brevity the first time around: it never existed as anything other than a 748 word essay.
Lesson number three: Start from scratch.
When I saw Brevity‘s themed call for works “examining lived experiences of race, racism, and racialization and the intersections between race and gender, class, dis/ability, and language,” I knew immediately what I’d write about: an incident 15 years in my past, that at times still felt lodged in my throat. I set to work immediately; I didn’t dismiss the idea before even getting started, as we writers so often do.
Lesson number four: Listen to the gut.
I tend to be an over-writer, churning out rough too-long drafts, because I’m that odd duck who loves messy brutal revision. This time, I was conscious from the start that I didn’t want to go more than 100 words over with an early draft. That helped, a lot.
Lesson number five: Shake up the process.
By the third (or was it 23rd?) draft, I experienced a familiar nah-this-stinks-forget-about-it attack. That was compounded by seriously questioning my ability to speak to the topic, which sounded like: who-am-I-kidding-who-am-I-to-write-about-race.
Then a friend asked me to read something he was considering submitting for the same issue, and that reminded me: beyond the guidelines, you can’t know precisely what editors are looking for. If you pre-reject yourself (by not even submitting), you’ve lost twice.
Lesson number six: Punch that inner critic in the teeth and carry on.
When putting the final polish on the piece, I read and re-read 15 different Brevity pieces. Yes, this is out of order; that’s the first thing a writer should do: read the journal. But I had been reading Brevity, every issue, all along. This was a double, final gut check, a slow thoughtful cruise, making sure I’d absorbed the lessons I’d learned along the way.
Lesson number seven: Read, write, repeat. (hat tip: Susan Sontag)
When I finally hit submit, it was with a mixture of familiar dread (here we go again) but also, for the first time, a hopeful sense that maybe I’d done it right this time. But then, who knows?
Lesson number eight: You can’t hit if you don’t swing. (hat tip: Dad)
When the acceptance arrived, I didn’t break into my usual dance-around-the-room jig, maybe because I was practicing a conference presentation, annoyed at myself for incorrectly ordering the slides.
Instead, I read the email on my phone, smiled, and went back to work. Because I’d submitted it exclusively, I didn’t have to navigate the tediousness of withdrawing it from other journals, or second guessing that I’d sent it to the wrong place. There was only calm, a sense of feeling both particularly lucky, and also rewarded for staying the course.
I did however visit my whiteboard list, and put a big check mark next to Brevity.
And wondered what to write next.
Lesson number nine: Rinse, repeat. (hat tip: every writer, every editor, ever)
Lisa Romeo is a New Jersey writer, editor, and writing professor. Her work is included in the Notables Essays section of Best American Essays 2016, and has appeared in the New York Times, O The Oprah Magazine, Hippocampus, Full Grown People, The Manifest Station, and of course, Brevity. Lisa serves as creative nonfiction editor for Compose Journal, and as a review editor of scholarly works for the Journal of Creative Writing Studies. Her blog offers interviews, resources, and advice for the writing community. Find her on Twitter @LisaRomeo.
October 17, 2014 § Leave a comment
Spend a second and review the CURRENT CALLS FOR SUBMISSIONS at Creative Nonfiction magazine. They are reading for two new anthologies from In Fact Books, a special issue of CNF, and the Exploring the Boundaries section of the magazine.
Exploring the Boundaries (section of the magazine)
What to send: Ambitious writing that pushes against the conventional boundaries of the genre, plays with style and form, and makes its own rules.
Beyond Crazy (a book!)
What to send: Original stories that address–either directly or obliquely–the trials of living with mental illness.
Becoming a Teacher (another book!)
What to send: Stories by and/or about elementary and secondary school teachers, recalling and reflecting on the most salient moments of their careers.
The Weather (a special issue of CNF)
What’s on the line: $1,000 for best essay; $500 for runner-up; publication in CNF.
What to send: True stories–personal, historical, reported–about fog, drought, flooding, tornado-chasing, blizzards, hurricanes, hail the size of golfballs, or whatever’s happening where you are. We’re looking for well-crafted essays that will change the way we see the world around us.