January 3, 2019 § 52 Comments
By Christina Consolino
They say it takes a village to grow a child, and I’d argue that it takes a village to grow a manuscript too. That village is made up of a diverse cast of characters, all of whom play an integral role in seeing a book come to life. Those people should be acknowledged, but since I’ve never been one to dwell on the positive . . .
The literary agents: For rejecting my work over the years. I’d love to mention each of you by name, but I’m only here to disparage a select few. My most memorable rejection arrived from BB, who used the remarkable wording: “Not for nus.” (That’s right. A typo from a literary agent. I wouldn’t want my book handled by someone who couldn’t use spell check anyway, right?) Just know that you—nameless or not—have made me better than I was before. Better . . . stronger . . . faster.
The editors: For reading my manuscript from top to bottom and sending me feedback that made so little sense, it quickly became apparent that you’d either switched my manuscript with someone else’s, or you’d been reading my manuscript while watching Better Call Saul. I have neither a stripper pole nor a mosque in this narrative.
The informal teachers: For scoffing at my projects. “That premise will never fly,” one said. (He didn’t think sparkly vampires would, either.) Another piped in, “How can you write a manuscript and raise four kids at the same time?” (Ever heard of Danielle Steele?) And, “What training do you have to write a book?” (I’m pretty sure that some of the most well-respected authors don’t have degrees in creative writing.) Every time you uttered a phrase like that, I straightened my spine. And now? With the completion of this book, I’m sending you the biggest fucking bird I can muster.
The numerous agencies and organizations I contacted: For not returning my calls when I asked for help with research. The doctor and dentist and hygienist who blew me and my laptop off after having offered to speak with me? I’ve killed you off and told all my friends about you. The therapist who never followed-up with me? Dead too. You had one job to do. One job.
The alpha readers: For dropping the ball, even though you said, “Yes, I’ll read the manuscript.” You neither read it nor provided any feedback as to why you didn’t (or couldn’t) read it. You’ve opened my eyes to the ways of the world and taught me to choose wisely when it comes to readers. The true readers will indeed, bring life, and the false? They will take it from you.
The so-called literary citizens: For never sharing my work, ever (even though I share yours). Despite your congratulatory comments, your “Thanks for being a fabulous literary citizen!” emails, your tiny fucking heart and thumbs up emojis when I post something. It’s been a real pleasure knowing that you have not and will not share my work. Your lack of response has taught me what the real world is all about: me. (Well, you, really.) It’s clear that the “Me generation” is alive and well, even in the literary world.
The colleagues: For never taking me seriously. “That’s a cute hobby you have there,” she said. And this zinger from an old boss: “What the fuck do you think you’re doing trying to write a book?” he said. “You’re a fucking science teacher!” (I know what you’re thinking: what boss would use an F-bomb at work? That one. But he also got fired for “fraternizing” with his boss. Wink, wink.)
The librarian: For your lack of encouragement or support and for stating that I’d never find a home for my manuscript in this world, then tearing it from my hands and tossing it into the trash. Only later did a friend find it in the employee restroom, annotated from cover to cover, although the acknowledgments had been used as some makeshift toilet paper. Little did that librarian know that the scene would make it into the final draft of my current work-in-progress.
The veterinarian: For healing my old, cantankerous cat, the one who always pushed the delete button on my keyboard and scratched at the draft, ate the draft, and then vomited the draft. Without you, dear doctor, I’d be cat-less, but I’d have more intact manuscripts in hand. (You think I’m kidding, but I’m not.)
My dog: For taking the manuscript between her jaws, running out the door, and burying it behind the compost pile. Her valiant actions prompted me to begin anew, thus finding my true, authentic voice, again leading me to be better . . . stronger . . . faster.
My children: For not being able to stay awake—not one of them!—while I read the draft aloud. (If you don’t actually hear the words, my dear progeny, they cannot count toward any reading minutes.)
And last but not least, my husband, the true love of my life: For not reading my work because women-centered narratives are “not his thing,” despite finding him glued to movies on the Lifetime channel. Asshole.
Christina Consolino is the co-author of Historic Photos of University of Michigan and has had work featured in HuffPost, Short Fiction Break, Flights: The Literary Journal of Sinclair Community College, Tribe Magazine, and Literary Mama, where she serves as Senior and Profiles Editor. She also serves on the board of the Antioch Writers’ Workshop at University of Dayton and as a writing instructor at a local writing center. Along with writing and editing, Christina currently teaches Anatomy and Physiology at Sinclair Community College.
September 28, 2018 § 3 Comments
By Ashley P. Taylor
Holding a box of stationery shut in my desk drawer is a giant rubber band. The box was never in any danger of falling open, so I don’t know why I rubber banded it, unless the purpose was simply to do something with the rather large bag of giant rubber bands that I ordered from Amazon two years ago.
I was querying an agent who asked for hard-copy submissions, and I’d heard that one of two ways to collate one’s score of sample pages was to use a rubber band (the other way being binder clips).
Of all the rookie writing questions one could ask a novelist, “What size rubber bands did you use?” has got to be one of the worst. To ask it is to be little better than the small children who, after John Updike read a kid’s book aloud, persistently questioned the author about the mechanics of using a typewriter: “Do you ever make mistakes, typing?” Updike repeated the question. “Do I ever make mistakes . . . typing?”
So instead of asking around, I went on Amazon and ordered a one-pound box of 40 Alliance-brand rubber bands, seven inches around and five-eighths of an inch wide. It’s easy, now, to look and see what I bought, but the choice of rubber band was not easy. So many things could go wrong. With a rubber band too big, the pages are loose; one too small and one’s precious leaves get crumpled or bent; one too thin and the band snaps and flies into the agent’s eyes, blinding her to your manuscript, nay, to all manuscripts, to everything!
The rubber bands I chose were way too thick. Luckily, there was an alternative: I headed to Staples. There I did indeed find a rainbow assortment of long skinny rubber bands that looked capable of restraining a manuscript, but I wasn’t tempted. Binder clip it was, and with a little help from the guy at the mailing counter, I even put the metal flaps down so that my manuscript could fit into a Priority Mail envelope.
All this to say that I’m seeking alternative uses—beyond stationery security overkill—for heavy-duty rubber bands. Slingshot component? Aid for drawing—or dyeing—smooth lines around dinosaur eggs? Giant-asparagus fastener? I throw the bag of them at the floor, and it bounces a little, so the rubber bands could make a giant rubber-band ball, although its core would have to be quite large. If I crumpled up all the pages of my manuscript . . .
I wonder what the rubber-band manufacturer imagines they will be used for. The Alliance Rubber press kit, “Holding Your World Together,” lists novel applications not necessarily for giant rubber bands but for rubber bands in general: jar opener, cutting-board securer, box-flap holder-downer, wallet altogether replacer, and, my favorite, waist extender. “Whether you’ve got one on the way or just want to breathe easy while you sit,” Alliance instructs, “simply pull a rubber band through the buttonhole on your pants. Then, put that loop around the button. It’s that simple!” A picture of unzipped black jeans, their waist flexibly expanded by a thin brown loop, accompanies this suggestion.
When I post to Facebook this bit about rubber-band-cum-waist-extender, hoping to make people laugh, a friend comments that she did the same thing with a hair elastic when she was expecting. Perhaps I am the ignorant one. Maybe if ever become pregnant, I’ll understand. But a hair elastic is one thing; a small thing, specifically. I really hope I won’t ever need to expand my waistband with a seven-inch rubber band capable of stretching to seven times its original circumference.
Alliance also says that the rubber bands they produce in a year could encircle the globe 23 times. I wonder how close my rubber bands would come to doing that. Each can theoretically stretch to 49 inches. I’m not sure what Alliance envisions, but I imagine hooking the bands together to form something like chain-link rubber. In that case, each rubber band covers 25 inches, max. Earth is 1,577,727,360 inches around, according to Google. At 40 bands per box, each box covers 1,000 inches, and I’d need a million and a half boxes, which is, oh, about a million and a half times beyond the scope of my project.
Maybe I’ll put the rubber bands in a drawer and return to the novel.
But would the world bounce? I sort of want to know.
Ashley P. Taylor is a Brooklyn-based writer of journalism, essays, and fiction. Her essays have appeared in LUMINA Online Journal, Vol. 1 Brooklyn, The Brooklyn Rail, Entropy Magazine, and Catapult and have been listed as notable in Best American Essays 2016, 2017, and 2018. Her short fiction has appeared in Vol. 1 Brooklyn and Joyland.
May 22, 2018 § 10 Comments
Author Steve Almond’s four-year-old daughter Rosalie interviews him about his depressing new book, Bad Stories: What the Hell Just Happened to Our Country :
Rosalie Almond: What’s wrong with you?
Steve Almond: I have a new book out.
RA: The one about stupid stories?
SA: It’s about bad stories.
RA: Like something bad happens?
SA: Not exactly. There are bad stories in which something bad happens. But when I say “bad stories” I mean stories that lead to bad things happening. Stories that are untrue or that are cruel, stories that make people want to break things, rather than build things.
RA: I don’t get it.
SA: Okay. Here’s an example. If I said to you, “You can’t trust people with green eyes, because they will steal your toys. You have a right to play with your toys, don’t you? But if you see a kid with green eyes, you shouldn’t be nice to them, because they just want to steal your toys.”
RA: Why do they want to steal my toys? What did I do to them?
SA: I understand. But okay, wait a second.
RA: I hate them!
SA: Wait a sec—
RA: People with green eyes should die!
SA: Okay. Time out. That was just an example. People with green eyes don’t want to steal your toys.
RA: But you just said they did!
SA: Right. But that wasn’t true. It was just a bad story I told you.
RA: Why did you say that if it wasn’t true?
SA: Because when you tell a bad story a lot of the time people will listen to you, and that gives you a lot of power. Someone who wants to become a famous radio host, or even the president, can tell bad stories as a way of getting attention. They can say, “People with green eyes want to steal your toys!” And, “People who read books think you’re stupid!” And, “You can’t trust people with dark skin!” It doesn’t matter if those stories are mean and untrue.
RA: It doesn’t?
SA: Not if it helps you get power. If you can find people who feel frustrated and angry and who are in pain, bad stories make them feel good.
SA: Because now they have a good reason to feel angry. If they feel like they don’t have enough toys, or they worry that they might not get dessert, or if they see other kids who have more than them, those things make them angry. Bad stories give them a reason to feel angry. And someone to blame.
RA: But why do other kids have more? That’s not fair.
SA: You’re absolutely right. It’s not fair. In a fair world, we would divide things up more equally, right? There wouldn’t be people with 100,000 chocolate cakes and other people who don’t have enough money to buy a loaf of bread. But if you’re a person with 100,000 chocolate cakes, you can distract people from how greedy you are by telling bad stories, by saying, “The reason you don’t have enough money to buy a loaf of bread is because some dark-skinned person from another country who doesn’t even speak English stole your job!”
RA: But I don’t have a job.
RA: Do I have to get a job?
SA: Someday, sure. But for now, I think it’s good for you to just go to pre-school.
RA: Because I can get a job later?
SA: Right, that can happen later.
RA: Will things be fair when I grow up?
SA: I don’t know. I hope so. But the only way they are going to get fair is for people to stop telling bad stories. They have to start telling good stories, which are stories that make people feel nicer and more hopeful and more generous. Stories which make you feel like you can understand how someone who looks different from you, or prays to a different God, actually wants the same things as you. Like they want a safe place to live and good schools for their kids to go do and enough to eat and a good doctor to go to if they get sick. That’s what all of us want, right?
RA: Not the doctor. They do shots!
SA: That’s true. But sometimes shots are the only way to help someone who is sick, right? Remember when you and mama got the flu?
RA: We couldn’t fly on the plane to California. We had to come later.
SA: That’s right. You were so sick. But if you get a shot, you don’t get the flu. Good stories can be like that, too. They can be like a shot that keeps us from getting sick, or helps us get better. So a good story is a true story that helps keep us safe, even if it’s a little scary. Like if we want to keep the planet from getting too hot, we have to use less gas. Or if we want to have a government that helps people we have to vote for people who want to solve problems. Or if we want people to have enough to eat and good schools and good jobs, we might have to take a little bit away from the people who have 100,000 chocolate cakes.
RA: Can I have dessert tonight? I never get dessert.
SA: You already had dessert, my love. You had a lollipop.
RA: I did? Really? Is your book over yet?
RA: Yeah, I want to read a different book now. One of my books.
SA: Okay. I don’t blame you. I like your books better than mine, anyway.
RA: So why did you write your dumb book, anyway?
SA: I guess because for writers the stories we write are the ones that get stuck in our heads. Stories that won’t go away unless we write them down. That’s just how it works.
RA: That sounds boring.
SA: It is boring.
RA: I told you so.
Steve Almond is the author of ten books, most recently Bad Stories. His daughter Rosalie has no plans to read the book.
March 20, 2018 § 31 Comments
- Marked the rejection on my list and reassured myself that it was only one
- Thought: two isn’t bad. Imagined the soaring joy of acceptance that would come with the next notification.
- Reread essay and decided I still liked it.
- Repeated to self: “Rejection is just another step on the way to success.”
- Read too much into the “In Progress” notification on Submittable.
- Ate chocolate.
- Reread the essay. Found words, phrases and whole sentences that could be cut. Clawed in anguish at the proverbial bosom. Cut the damn words.
- Sent the essay to another batch of journals. Checked Submittable in a non-obsessive way.
- Was able to quote from memory all of the variations: “We’re sorry, read with interest but, not for us, not the right fit, pass this time, good luck.”
- Ate more chocolate.
- Made another list of journals and sent the essay to a dozen of them. Nothing grim about it. Nothing at all.
- Castigated myself for ever imagining the soaring joy of acceptance.
- Watched Netflix during designated writing time.
- Reread the essay and decided it was awful. Got a friend to read it. Didn’t know if they were just being nice by saying they loved it.
- Sent out another batch.
- Considered whether “Received” or “In Progress” held more possibility. Decided both were inscrutable and, possibly, sinister.
- Went to Costco to stock up on chocolate.
- Marked off the rejection on my list and wondered if it would have been better if I had chosen another color besides red for my color-coding system.
- Determined that two Costco-sized bags of chocolate-covered blueberries were, in fact, inadequate for my needs.
- Resorted to sports analogies: “You miss 100% of the shots you don’t take.”
- Made a pact with myself that I wouldn’t check Submittable any more.
- Checked Submittable.
- Reread the essay, decided it really wasn’t so bad.
- Got a pair of trusted eyes on the essay. Sank into the depths of frustration and despair when told, “It needs something.”
- Repeated to myself my first writing teacher’s encouraging words: “We’ll throw a party for the first person to get 50 rejections!” Half-way there!
- Realized that my only success might be in failure.
- Sent the essay out again because I was like those zombies I watched but shouldn’t have. Nothing could stop me but a blow to the head.
- Read articles claiming that sugar is the cause of all ills. Read articles stating that chocolate has 4 grams of protein per half cup.
- Decided that I couldn’t please everyone else and maybe couldn’t please anyone else but myself. Pretended that this made me powerful instead of lonely.
- Gave myself a stern lecture about doing the work for the work’s sake. Very nearly believed it.
- Decided that the essay did need something. It needed me to not give up on it.
- Checked Submittable.
A knitter, gardener and avid dog-snuggler, Lea Page lives in Montana with her husband. Her work has appeared in The Washington Post, The Rumpus, The Pinch and Hippocampus, and she is the author of Parenting in the Here and Now: Realizing the Strengths You Already Have (Floris Books, 2015). Find her at www.LeaPageAuthor.com.
March 5, 2018 § 4 Comments
As AWP draws near, first-time conference attendees and veterans alike stand over half-filled suitcases, frantically scrolling weather apps while trying to pack for the snowstorm on the way to the airport, the tropical humidity in which they will land, and the convention-center air-conditioning (setting: Meat Locker) in which they’ll spend most of their time.
The questions are endless: What do I wear to the Dance Party? How many minutes per room must I spend for two simultaneous panels, one containing three friends and a recent ex, and the other two mentors and a dream agent? What’s the proper conversational opening to a group of editors, 3/5 of whom have previously rejected my work?*
The Brevity Editors are here to help! Pooling our years of experience (25 years, 8 years, 6 years, and 1 ½ days), we present the Definitive AWP 2018 Packing/Preparation Guide:
- Cute summer dress because Tampa! Fleece blanket to use as shawl in over-air-conditioned conference hotel. (May substitute manpris and higher basal body temperature)
- Brand new sandals/mandals for walking shoes with cute summer dress/manpris. Band-aids. Iodine. Antibiotic ointment. Last year’s sneakers.
- SPF 188.
- Bathing suit for the Marriott hot tub. T-shirt to wear over bathing suit. Additional t-shirt to wear over t-shirt. Water shorts.
- Notes on elevator pitches to hone on the plane.
- Hormone replacement regimen because perimenopause! And Tampa!
- Virginia Woolf tote bag. No, F. Scott Fitzgerald finger puppet. No, both. None. OK, just the finger puppet. Pageboy wig. Amazing Technicolor Dreamcoat. Vintage lunchbox.
- Airplane reading: Friend’s manuscript you owe feedback on. Student papers to grade. Six oldest New Yorkers from the pile. Entire lit mag slush pile. Lincoln in the Bardo. Infinite Jest.
- Business cards with your old email on them. Call Office Depot to determine if new cards can be a) fast b) cheap and c) attractive. Begin penciling in new email on each card. Call department secretary to see if you can have your old email back.
- Ten copies of your book. No, eleven. No, three. No, none. No, twelve. Bring one and forget it (and student papers) on the plane.
- VGA to HDMI to VHS to BluRay to hamster wheel to clean coal adapters for panel. Post-it notes, index cards, and six colors of dry-erase markers for other panel.
- Power Point of key panel slides on your phone in case of laptop failure. Power Point of your WIP on your phone in case of literary agent in elevator.
- Hand-held folding fan steeped in cannabinoid oil and lavender. Look chic and mysterious as you fend off imposter syndrome, panic attacks and neurological disaster.
- White-noise app. Noise-canceling headphones. Earplugs. Note from last year reminding yourself “[Roommate] SNORES.”
- Flash cards with photos of keynote speakers so you can recognize them at cocktail party. Self-ejecting jet pack in case emergency party escape is needed. Portable smoke machine because go big or go home.
- Novelty hand buzzer.
- That Starbucks gift card you got four months ago from a student you thought hated you but didn’t after all, and that you’ve saved for “a special occasion.” Please note: lobby Starbucks closes at 2PM.
- Nine pens.
- Color-coded, strategically-plotted, much-folded-and-re-folded printout of schedule, including personal plans A, B, and C, with pop-up 3-D flowchart and Venn diagrams. Leave on table in lobby Starbucks at 1:58 PM.
- Xanax. Pepto Bismol. Extra-strength Tylenol. Tylenol PM. Tylenol with codeine. Nyquil. Advil. Advil PM. Benadryl. Calamine lotion. Quaaludes.
- Printout of Sober AWP meeting list. Downloaded version of Big Book. Sponsor’s cell number. Therapists’ cell numbers. Pocket guide to 12 steps. Mindfulness meditations. Blindfold. Cigarette.
- Wine. IT’S A PRESENT.
- Chapbook from your favorite poet, so you can “casually” bump into them and “just happen” to have their book on you and they’ll be so delighted they get your deconstructed villanelle fast-tracked at Poetry.
- Updated CV. Just in case.
- Entire choreography to Beyonce’s “Lemonade” (memorized and practiced obsessively instead of panel prep) for the dance party or just making people uncomfortable in elevators.
- List of key points for MFA or no-MFA debate because that never gets old.
- Emotional support pack mule.
*(Answers: Orange; 26/32+17 minutes navigating from Ballroom A to Grand Salon C; “How ‘bout those liminal spaces?!”)
February 26, 2018 § 8 Comments
By Sara Goudarzi
- Support other writers. Go to Jenny’s book launch. Instead of listening to her read, think about how the big five will outbid one another at auction for your debut novel. Make sure to thank Reese Witherspoon for turning it into an HBO mini-series at your launch.
- Paint an accent wall to distract from the gnawing doubt in your gut. Did you know green enhances creativity? That should help you start a second novel. Carve your new work in tiny letters on the wet wall with the tip of a mechanical pencil. Pull your couch against the wall and place a chair on it. Steady yourself on the chair and write. Write like no one is watching. No one is watching. Creativity is a balancing act.
- Watch the paint on your accent wall dry. Fall asleep while doing this. When you wake up, look around frantically. Who drew those seven penguins on the wall? It’s a sign: Penguin Random House it is. Kiss each of the penguins for good measure.
- Detach yourself from the outcome. Stop fixating on rejections and learn to be more Zen. Gin is a sure way to help you agoniZe less ABOUT what’s not in your controLlllll. Stock up. Or is it stick up? You can’t tell, but that sure is making you laugh uncontrollably.
- Resist the urge to turn up unannounced at agents’ offices. Limit yourself to Instagram and Twitter stalking. Physically showing up is a bad idea. Unless you wear a hat. Hats are good. And big sunglasses. Always stand behind a tree. But don’t pee. Never pee on a tree outside an agent or editor’s workplace and never let the intern see you on his way back from grabbing coffee. If your eyes meet, smile at him but pull your pants up first.
- Ask wall penguins about aggravated stalking jail time and criminal trespassing. If they can’t help you, browse the Internet.
- Use Jenny’s paperback launch to introduce yourself to the industry pros. While Jenny is reading yell: “Book. Book. Mine.” When everyone turns around to look at you, point at the elderly woman sitting next to you and shake your head in dismay.
- Write crime novel. Forget writing another literary masterpiece. Use Jenny’s book as a roadmap to write genre fiction. Pull pages apart to understand how the story fits together. Or, tape the pages on your body in the shape of a dress. Ask wall penguins if you look nice.
- Paint accent wall again. Ask your mom for paint money. Go with a blue this time. It’s soothing.
- Write, but don’t send, letters. Cut and paste individual letters from your rejections to create ransom notes for agents and editors that you imagine kidnapping. Don’t send the notes—this form of therapy is just to help you cope with your feelings.
- Watch blue wall dry. Make yourself pants with Jenny’s book pages this time and cry a little because you wish you hadn’t painted over your bird friends. Or are they mammals? World’s mysteries are endless.
- Ask Mom to start a publishing company. Of course you know she already has a job as a dental assistant but how long does she want to work for the man? Yes, you do realize the dentist is your father. But what about filling the cavities in literature? Stop yelling at your mom.
- Contact lawyer. No you didn’t really mean to kidnap (that’s like two words “kid” and “nap”) anyone. You don’t even remember dropping those in the mail. You were sending out a post card for a free snack box, the ransom notes must have slipped through. Whoops!
- Get ready for a chance of a lifetime. You’ll see your favorite agents on the 13thand 27th. Make yourself a nice suit for the court dates. How you present yourself is everything.
Sara Goudarzi is a Brooklyn writer. Born in Tehran, she was raised in Iran, Kenya and the U.S. Her work has appeared in National Geographic News, Scientific American, Taos Journal of Poetry and Art, The Adirondack Review and Drunken Boat and featured in a poetry anthology. Sara is the author of Amazing Animals and four other titles from Scholastic Inc., recipient of a 2017 Writers in Paradise Les Standiford fellowship and a Tin House Writers Workshop attendee. She recently completed her first novel and is at work on a second.