January 15, 2021 § 16 Comments
By Jennifer Lang
For the past few years, my literary journal submissions have become more regular, my Submittable account more colorful. The grey DECLINED rectangles far outweigh the green ACCEPTED ones, with a smattering of black WITHDRAWN rectangles, along with a mix of two cool blues. This past year, I’ve received 56 no thank yous and 4 yesses, we love your work and would like to publish it.
But today, I had an epiphany similar to one in my memoir-in-progress. I can wallow in my losses, focus on the negatives, count and recount the rejections—or I can change my perspective and reframe my narrative. Because in 2020, a year like none other in my 55-year-old lifetime, I’ve achieved so much more than I ever imagined possible. I am no longer limited to writing creative nonfiction. I do not shy away from playing with form, from learning other genres, or from entering contests. Because in 2020, I have:
- 1 book review
- 1 essay (after 35 rejections over the past five years and countless revisions)
- 1 prose poem—all new territory and terrifying
- 1 unclear, experimental, hybrid CNF/poem with erasures and line breaks
- 1 list essay for an anthology called Art in the Time of Covid-19
- 1 1st-place flash contest win that led to
- 1 Pushcart Prize nomination
- 1 hold-on-tight, your essay has made it to our second round of reviewing for an anthology
- 1 of the most thoughtful, generous rejections to a contest with feedback from several readers, which led to back-and-forth emails with the editor-in-chief
And, of 13 submissions to various independent presses for a memoir manuscript, thus far 3 have declined, 4 in-progress, and 6 received on Submittable (not including all the others sent by email or separate systems).
Rather than dwell on what didn’t come to pass and think poor me, I can look through another lens, perhaps even feel proud of how far I’ve reached, how much I’ve grown.
This past year, I participated in a unique podcast when I was interviewed, in Hebrew, by an Israeli DJ and read my work, in English, which she set to disco music (apart from my appalling accent, it was a really fun writing experience). Last March, I co-founded a writing community with a friend on the other side of the world to pull myself—and each other—out of lockdown paralysis (and we’re still going strong and open to newcomers). And I’ve pushed myself out of my social-media comfort zone, trying to be a better literary citizen and give where I can give and not just take when I want or need to take.
None of this is meant to boast. My intention is to help those of you who feel down about yourself or your writing life to tally up your year’s accomplishments with different eyes. Another type of re-vision. Did you break into a dream publication? Did you return to writing after a long break? Do you feel happy, satisfied, creatively fulfilled when you approach the blank page? Did you join a writing group? Reach out to a writer you admire? Find someone who believes in your words or supports your work? Did you memorize a favorite poem? It all counts.
As we kick off 2021, my wish for you, and me, and everyone in this community is to write what moves you, what compels you, what makes you feel whole and healthy, and, above all, to stay healthy—mind, body, soul—as the world keeps striking and rebounding. We cannot control how long it will carom, but we can control our reaction. We can re-see our narrative.
Born and bred in the San Francisco Bay Area, Jennifer Lang lives in Tel Aviv. Her essays have appeared in Baltimore Review, Under the Sun, Ascent, Brevity Blog, and Crab Orchard Review, among other venues. A Pushcart Prize and Best American Essays nominee, Lang holds an MFA from Vermont College of Fine Arts and serves as an Assistant Editor for Brevity. Find her at israelwriterstudio.com and follow her @JenLangWrites.
January 6, 2020 § 14 Comments
By Alison Lowenstein
After meticulously crafting a brief cover letter and biographical statement, you upload your work of creative genius, along with a twelve-dollar submission fee. You press submit and enter a period of limbo when you see the essay, along with your many other submissions–ranging from haikus to flash fiction, logged as Received.
Every evening you visit the web page for the literary journal you submitted to and imagine yourself on their homepage. Fantasizing that within minutes of the essay being on the journal’s website you get a book deal or at least an inquiry from a literary agent.
Rebuilding Your Confidence:
You reread your essay to remind yourself that you truly are talented and any editor tasked with navigating a content management system to review a virtual slush pile will be delighted to read the layered work rife with metaphors and allusions to religion, literature and a variety of high and low brow works of art.
Judging Those Who Don’t Publish:
To pass the time, you silently judge your friends who aren’t vulnerable enough to submit their creative work to literary publications like you do. You think about your old college roommate who was lauded in the alumni newsletter for discovering a procedure to cure blindness, who as far as you know has never published in JAMA, while you have had three poems and an essay featured in literary journals with a circulation of over 2,000.
Your heart skips a beat when you see your status finally changes from Received to In-Progress. You imagine your essay being discussed at an editorial meeting where the words “brilliant” and “we made a serious discovery here” will be uttered several times by an enthusiastic staff comprised of unpaid grad students and a lecherous aging professor. After two months, when your status hasn’t changed to Accepted you start reading the masthead of the journal and craft impassioned letters to the editorial board about how they better make a decision or you will be forced to Withdraw the submission. You wisely never send these letters.
Perusing Social Media:
You follow many notable writers and other literary icons on various social media platforms and cringe when you see them mention work they’ve recently published in the literary journal you submitted to and haven’t heard back from in four months. In addition, you follow the editors from the publication you submitted your essay to and wonder how they could tweet several times a day, while it takes them months to make a decision to Accept or Decline on Submittable.
It’s been six months and you still religiously check your Submissions page, but there has been no change in status. You regret not sending your essay out as a multiple submission and blame your monogamous nature as a reason for this mistake. Late one night in a fit of rage, you make your way over to the Discover page and search for other journals accepting creative nonfiction. You submit to a contest that has two hours left before its submission window closes, and a series of online and print journals, spending a total of one hundred and four dollars on submission fees. The following morning you receive an email congratulating you and you log onto Submittable and see your status has changed to Accepted.
Alison Lowenstein is a freelance writer and author of children’s books, guidebooks and plays. She’s written for The Washington Post, Huffington Post, McSweeney’s Internet Tendency, Modern Loss, Gothamist, New York Daily News, National Geographic Traveler, Travel and Leisure.com, and many other publications and websites. You can find her at www.brooklynbaby.com. Follow her on twitter @cityweekendsnyc.
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 2, 2018 § 19 Comments
By Jan Priddy
The old process of literary submission by printing cover letters and essays, addressing large envelopes and SASEs, driving to the Post Office, and paying postage, is going, going, gone.
Most journals now accept submissions through an online portal such as Submittable. It is an efficient system for both writer and journal. Online, I enter my name, address, and email, paste a brief cover letter into the space provided, attach my text as a doc or pdf, pay a small fee, and click SUBMIT.
My essay shows up on my record at Submittable as “Received” in my “Active” folder. When someone at the literary journal opens my attachment, the listing indicates it is “In Progress” until a decision is made. I cannot tell if anyone is actively reading it, but finally, without me doing another thing, my submission moves either to my “Accepted” folder or the “Declined” folder. A few days or a few months from click, I receive an email announcing acceptance or rejection.
Alaska Quarterly, a late holdout for paper submission, experimented with Submittable last year. It recently posted on its website: “The volume of submissions was 3 times more than we expected, however. In response we are now in the process of building additional editorial capacity to review on-line submissions beginning in the fall of 2019.”
This morning when I checked Submittable, a submission from five months ago was still merely Received. A few minutes later, the form rejection email arrived, and Submittable had moved it from the Active to the Declined folder. My document was opened, read, and rejected in minutes. Okay. Fair enough.
Editors are mostly unpaid, and readers are never paid. They are entitled to make snap judgements, just as general readers do.
One acceptance arrived six months after I’d given up, another suggested where else I might send that particular manuscript. That is rare. Nearly all responses are rejections, and nearly all rejections are mere form.
The convenience of online submissions allows limited insight to editorial process. Another website that I use to track all my submissions in one place, Duotrope, reveals more. Duotrope tracks statistics of submissions, rejections, and acceptances for my essays, as well as overall statistics for each of thousands of journals based on hundreds of thousands of submissions.
A few journals respond in days, but most routinely need months. Some journals are clear about their process, others are more secretive. Submissions to Calyx, for example, pass through a series of readers in a vetting process that is made fairly transparent on their website. When Howard Junker was editor of ZYZZYVA, responses used to arrive by return mail, but now Duotrope lists the journal as “among the slowest” to respond with no online submissions accepted. Editors change and policies and tastes with them.
According to my Submittable record, Hippocampus opened my essay within days of submission, but Duotrope’s statistics suggest I will not have a decision for another a month. Perhaps longer. Editors receive more submissions than they anticipate, student readers are between terms, or someone needs more time to decide.
I have doubts about all this helping me negotiate the aspect of writing that is least comfortable to me: submission.
I should be years past hanging on every query. Except I am not.
I hang on every one. Most days I check Submittable and Duotrope more than once. My personal records on Duotrope list 610 submissions since August 2006, and an acceptance rate of 6.9%. A note on my stats page assures me this is “higher than the average for members who have submitted to the same markets.”
I want to do better. Of course I do. And I know this is all a waste of time, this checking and rechecking, but I cannot help myself.
Just now one of my stories is short-listed by such a journal with a .25% acceptance rate on Duotrope—one story accepted of the four hundred submitted in the past year. A couple of weeks ago there were over a hundred stories pending, this week my story is one of twelve still under consideration. I dread seeing their email in my in-box. Acceptance or rejection? I write this while there is hope.
I said to my husband over breakfast this morning: The day is bright.
Jan Priddy’s work has earned fellowships, awards, and publication. Aside from nonfiction, her last project is a novel about recovery from grief, and her current work is science fiction short stories. An MFA graduate from Pacific University, She lives and teaches writing in the NW corner of her home state of Oregon. Her new blog is https://janpriddyoregon.wordpress.com.
February 27, 2018 § 16 Comments
Who aims for rejections? It’s a crazy notion. Not for the fainthearted. And definitely not for those prone to negativity. But since the beginning of 2017, I’ve been aiming for rejections. This intention spurred writing, encouraged finishing, and helped me put more pieces out into the world than previous years. An original idea? Nope. In late 2016, I read a piece on LitHub, Why You Should Aim for 100 Rejections A Year. Sold.
Years ago, such a risk would have stopped my writing. I’d spent dollars on therapy to deal with my writing demons. I wrote pieces about quitting writing. I swore that I didn’t stand a chance in the world wide of publication. Fear. Yes.
But after years of writing workshops, sending out random pieces here and there, and on rare occasions getting an acceptance, I felt ready to commit. Ready to say I have work worthy of reading. Ready to risk rejection.
I created a writing intentions calendar, noting pieces that needed revision, listing pieces I wanted to create, placing deadlines for submissions of particular pieces complete with lists of potential homes. Each month, I crossed through what was done, and when things weren’t touched, I re-evaluated, deciding whether to move them to another month or simply remove that intention.
I began submitting. Aiming for rejections. And I received them.
Eighty-two times in one year.
In the past, I’d received rejections without much grace. Often, I’d utter nastiness at the publication, holding a fuck-you finger to the computer screen. Other times, I’d run to my faithful partner and ask her if I was wasting my time (I still occasionally do this after too many rejections in a row). But starting last year, I handled it like a business. I persevered, refusing to let external readers determine my writing life. I’d note the rejection in a list, add the number to a tally for that month, and evaluate whether the piece should be sent to other journals or put back into the revision pile.
When my rejections passed 50, I got a bit excited.
I hadn’t crumbled.
I hadn’t stopped writing.
I hadn’t submitted to fear.
There were moments I wondered if I could truly withstand 100 rejections. For years, I had worked and reworked an essay about the onset of my father’s Parkinson’s disease. Writing pals declared it ready—it would find a home. I sent it off to my dream publication, checking the box that said I wasn’t simultaneously submitting. I waited. It took only six weeks to receive a friendly, impersonal rejection wishing me “the best in placing [my] writing elsewhere.”
I submitted the essay to what I thought would be a sure shot. I’d read their issues. Read their mission. This fit. Again, it took only six weeks for the rejecter to wish me “the best finding a home for it.”
Fortunately, encouragement occasionally showed up in my rejection pile. Several pieces garnered “…we hope you will consider sending us more in the future.” Then there was the rejection that I celebrated as much as an acceptance. A hybrid piece of polyvocality, part Twitter/part narrative, had made it up to the editor’s table at another dream publication. The rejection came directly from the editor. She told me how interested they were, that it was a close call, even though my essay didn’t make the final cut. She gave me hope for a piece that was having difficulty finding a home.
My new mission of aiming for 100 rejections helped me finish pieces. After years of generating lots of starts and little finishes, I knew that in order to have enough material to aim for 100 rejections, I had to actually produce and finish work. A specific number gave me accountability.
At the end of last year’s experiment, I had four pieces published and one forthcoming. I had enough polished work that when someone solicited me for a potential submission, I actually had several pieces I cared about to send in (and one was selected for publication). It’s too early to predict this year’s outcome, but I’m into 2018’s writing intentions with a busy calendar filled with promise—and rejection.
Amy Braziller is a former punk rocker, sometimes banjo twanging foodie, and current Professor of English at Red Rocks Community College. Publications include Front Porch, Entropy, Split Rock Review, and Hippocampus. Amy is working on a hybrid memoir related to her punk rock days in NYC. She writes about food, film, music, GLBT issues, and social media distractions at amybraziller.com.
February 2, 2018 § 10 Comments
By Nicole Walker
There is among controversies, a controversy that can divide liberal from progressive, intelligentsia from academic, diversity embracers from intersectionality champions. It is the great issue of of Submission fees, especially via Submittable. And I am here to claim my stake on the wrong side of this story because I just spent three hours sending three submissions to three different journals. First, I googled the magazines and saw, to my distress, that they wanted me to send them via mail. But instead of saying no no no no no, I said, OK. I have half an hour before I pick Max up. I can do this. So I looked at the guidelines. I had to back into the document because some of the journals needed page numbers on the upper right hand corner and some wanted my address and my email and some wanted blind and that was just three so I said, OK, no more than three. I fixed the documents. I pushed print. I went upstairs to my printer. Forty-eight pages of different documents covered the carpet. Thank god the submission guidelines had called for page numbers. I collected the pages into their constituent essay and put a staple into each of them. And then I thought, I should check the pages to make sure I have them all. So I checked the number of pages and their order and page 12 was missing on one and page 5 was between 9 and 10 so I unstapled and went back upstairs to find page 12. I found page 12. Resorted. Restapled. Then I remembered, I have to write cover letters. So I went back to the websites to find the addresses and opened some cover letters I wrote in 2015 the last time I tried this experiment. Then, I printed each cover letter and went upstairs to get the cover letters. I came back downstairs and remembered I needed Self Addressed Stamped Envelopes and where do I keep envelopes? Upstairs. I addressed those envelopes and then looked around for some big envelopes for the big essays and cover letters and SASE’s but couldn’t find any so I said, that’ll do and I went pick Max up from school to take him to a haircut and while we waited our turn we went into the crappiest Family Dollar that ever existed and wandered and wandered until I found 6 big envelopes for, guess how much, one dollar. Max got Cheetos (Flaming hot. I tried not to look) that cost $1.50. Then we went to the car to address the envelopes and stuff the envelopes. I put one cover letter in the wrong envelope so I had to unstick it and pull out the wrong cover letter and restuff that one and restick the other one and also use the little claspy thing for safety. Then we went in to get Max’s haircut which took an hour because Great Clips is apparently the new Aveda and the woman cut each of Max’s hairs one at a time so we were late to get Zoe and she had been waiting in the cold and was frozen and I felt bad but we still had to go to the post office. Max and Zoe waited in the car and I just walked in right after some guy with nine envelopes headed straight for the self service machine, and even if you are expert with the machine you have to answer 19 questions for each envelope to certify no you are not a terrorist and I waited and waited and kept checking the nice-people-will-serve-you-but-you-might-die-waiting line and realized I was going to die either way and the woman inside did not care nearly as much about what I was mailing as the machine did and she said that will be $4.03 cents and now it was almost five o’clock and traffic was bad and I had to call everyone who was driving a jerk which my kids hate because it just makes me look like the jerk but I am here to say please, poetry gods, please allow me to pay you $3.00 a submission for the rest of my life from the comfort of my chair and with the click of two buttons.
Nicole Walker is the author of two forthcoming books, Sustainability: A Love Story and A Survival Guide for Life in the Ruins. Her previous books include Where the Tiny Things Are, Egg, Micrograms, Quench Your Thirst with Salt, and This Noisy Egg (only every third book has the word “egg” in its title). She also edited Bending Genre with Margot Singer. She’s nonfiction editor at Diagram and Associate Professor at Northern Arizona University in Flagstaff, Arizona where it rains like the Pacific Northwest, but only in July.
November 28, 2017 § 10 Comments
We’re settled into our seats, ready to watch Meryl Streep perform in the new musical adaptation of Gone Girl (“Gone!”). We’re leafing through Playbill, counting up Oscar nominations, when suddenly Ms. Streep steps out in front of the curtain to address the audience.
“Hi everyone, I’m really excited you’re here for this show, based on the book about a woman who fakes her own disappearance and sets her husband up for a murder rap. I hope you’ll especially enjoy the scene where I write all the journal entries at the same time with different pens.”
Or she says, “In rehearsals for this show, I worked on my high E notes with a noted vocal coach at Julliard, maybe you’ve heard of him?”
We’re already here, Meryl. We’re ready to watch. We trust you to deliver. Just let us watch you–don’t tell us the story you’re about to tell us. And if it turns out the show isn’t to our taste, your pre-show explanation won’t fix that.
Reading submissions is a lot like being in that audience. Around the Brevity Podcast house, we’re settling in with pages of Submittable entries for the One-Minute Memoir episode. Each essay is the curtain going up on a show we’ve never seen before, enjoying how much humor, sadness, quirkiness, reflection, action, and adventure can be packed into under 150 words, sometimes many fewer than that. There are pieces totally unique in content, and others with universal situations but new approaches. Every author has something truly, beautifully theirs…and some of them tell us about it in advance.
Cover letters everywhere range from a single sentence of author bio to a full page of credits, context, and background information, and every variation in between. Sometimes, authors get nervous that the editors won’t get it. Or they’re really excited about their time working with a prestigious teacher. Maybe they feel like they don’t have enough publication credits, and explaining the story fills up that space. Or there’s a backstory that’s totally amazing.
These things don’t suck, but they’re not helping your submission. I don’t actively read the cover letter until I’ve read the essay–though I end up seeing some of what Submittable displays before clicking through to the submitted piece. Most editors want to come to your words as readers do: a fresh impression on the page. They don’t get to sit down and explain to subscribers what they meant when they picked that piece, why they think it’s great. As authors, we rarely get to discuss why or how we came to write something unless we’re talking about it with our friends or being interviewed. But that’s bonus material for the true fans, not a base to start from with first-time readers. Don’t give away the game.
For example, when submitting your terrific flash essay about knitting with a women’s circle in Guangzhou:
This essay focuses on the time I gave birth in China surrounded by my knitting class. I wanted to tell the stories of the amazing grandmothers I met while doing handicrafts in China. They all had children who had emigrated, and I saw how conflicted they felt.
For the purposes of submission, one sentence maximum about the circumstances directly affecting the writing (not the story).
I wrote this during my missionary work in China.
I’m a professional knitting teacher.
Will detailing parts of your story get you rejected out of hand? Not by us. In the long run, this isn’t a huge issue. For most journals, it doesn’t really matter what you write in that space–at this point in the process, they’re interested in the story and the writing. Explaining neither fixes nor destroys a submission. So don’t sweat it if you’ve fallen into this category before. Just stop doing it.
Reading your story is more powerful than reading about your story. Let us be surprised and delighted and astounded–the way we want our audience to be when they get to read your work.
Edited to add: Aerogramme offers some more terrific cover letter advice from Tahoma Review Prose Editor Yi Shun Lai.
June 1, 2016 § 19 Comments
By Julie Vick
Number of times you checked your Submittable page today: 25
Number of changes in status to your Submittable page today: 0
Days since there was any change to your Submittable page: 37
Number of visitors to your writing portfolio website this week: 2
Percentage chance that both visitors were searching for someone else who has your same name: 50%
Percentage chance that one of those visitors was your mom: 70%
Number of tabs opened on your computer today: 124
Average time spent on each tab opened: 23 seconds
Number of tabs you have open right now: 13
Percentage chance that you opened another tab midway through reading this list: 50%
Number of times one of your essays was rejected before it was accepted: 29
Number of times that essay was revised: 17
Portion of days last week you thought the piece you are working on was pretty good: 1/7
Portion of days you thought the piece you were working on was pretty bad: 6/7
Estimated amount of money spent on coffee so far this year: $391.20
Number of times per day you convince yourself that watching the latest award-winning television series will help you better understand narrative arc: 1-2
Number of shares on your most recently published essay: 7
Number of shares on a collection of images of cats dressed in Elizabethan costumes: 2,978,572
Times you shared that Elizabethan cat costume list: 2
Percentage chance that cats dislike wearing costumes: 99%
Words you read today: 5,762
Words you wrote today: 123
Julie Vick’s work has appeared in publications including McSweeney’s Internet Tendency, The Washington Post, Salon, and Brain, Child. She currently teaches writing at the University of Colorado Denver.
April 12, 2016 § 26 Comments
From Brevity managing editor Kelly Sundberg:
Last Friday, just after tucking my ten-year-old son into bed, I made myself a cup of tea, then went to my loft office to try to catch up on my Brevity queue. Currently, the queue haunts my waking hours. If you have submitted this year, you might have noticed that the response time is slower than usual, and I have an explanation for why that is.
I am behind.
That’s all there is to it. I wish I had a better explanation, but I don’t.
I am still reading submissions. I am still responding to submissions. I am still considering submissions. It is just taking me a bit longer to do this than usual.
But back to last Friday—I settled into my desk, put my headphones in, and brought up Submittable. Suddenly, my little dog Teddy—a Beagle mix—flew down the stairs. He whimpered at the door. I assumed that there was a bunny outside. I live in what those of us in rural Appalachia call a “holler.” My house is surrounded by woods and not much else. At night, the acreage around me fills with bunnies—adorable little jackrabbits. Sometimes, on a given weekend, I will see more bunnies than people.
But this time, Teddy wasn’t trying to get out to chase a bunny. There was someone at the door—knocking loudly. It was 10 pm on a Friday, and this was unusual. I didn’t know want to answer the door. I mean, who would want to answer that door? This is the beginning of every horror movie, right?
Still, I remembered when I used to live in Boise, Idaho. There was a big, black house known as the “murder house.” Urban legend had it that the man who inhabited that house had murdered his entire family. The wife escaped and ran around to all of the neighbor’s houses. She pounded on all of the doors, but no one answered. The next morning, when the police arrived, they found her bloody handprints on the neighbor’s doors.
I thought of this as I stared at my door. The knocking increased. I didn’t want to be the person with bloody handprints on the door, so I answered. When I opened the door, a man was on the porch. He had a chainsaw in his arms. The first thing he said was, “Is your old man around?”
I don’t have an old man.
Not even close, but this story is getting long, so I’ll wrap it up here. My point is that I did not get back to my Brevity queue that night.
Sometimes, a man with a chainsaw on my front porch is why I don’t get to my queue.
Other times, I am just busy.
Here are some notes on my response times:
1. There is a high probability that you will receive a response from me after nine o clock p.m. (Eastern) because nine is when my son goes to bed.
2. I am not likely to respond on Monday or Wednesday evenings because that is when I prepare for the creative nonfiction workshop that I teach on Tuesdays and Thursdays, and I reserve my reading energy for my students at those times.
3. If I have chapters due to my own editor, I will complete those before reading Brevity submissions.
4. If you receive a response on Tuesday or Thursday, then it was probably sent from the bakery where I like to work in the afternoons, which is just across the street from Dinty’s house. Sometimes, I see Dinty working in his garden and feel kind of creepy.
5. If you receive a response before eight o clock a.m., then please contact the authorities because that response did not come from me. Let me be clear when I say that I do nothing before eight o clock a.m. but sleep.
6. Our response letter currently states that we reply within 45 to 60 days, but my current average is closer to 70. Dinty generously asked me if I wanted to change the letter (he is as kindhearted as everyone says). I said that I would catch up, and I was sincere, but I should have taken his offer.
7. We receive thousands of submissions during our reading period, and I read each and every one of them.
8. I try very hard to respond to writers personally when something about a submission has caught our readers’ eyes. This slows me down, but I think that writing can be thankless work, and I want our submitters to know that we have read and cared about their submission.
9. If your submission goes from “Received” to “Rejected” in Submittable without switching to “In-Progress,” this does not mean that your submission has not been read. It only means that we have a small staff.
10. I am committed to treating each submission with respect, and this means reading it carefully. Please know that Dinty, our volunteer readers, and I do read and discuss your submissions carefully.
I’m sorry I’ve been responding to submissions slower than usual. I understand the anxiety and anticipation of a pending submission, and I do want to respond quicker than I currently am. Please be assured that your work is being read thoughtfully, and that you will receive a response. Thank you, dear Brevity submitters, for your patience.
Kelly Sundberg is Brevity’s Managing Editor. Her essays have appeared in a variety of literary magazines and been listed as Notable in Best American Essays 2013. Her essay, “It Will Look Like a Sunset” was anthologized in Best American Essays 2015, and a memoir inspired by that essay, Goodbye Sweet Girl, is forthcoming from HarperCollins Publishers in 2017.
March 11, 2015 § 3 Comments
Friends, we have been blessed with a large number of high-quality submissions and have almost fully filled our September 2015 issue. We have a bit of a longer backlog than we are comfortable with as well, so we will be shutting down our submission period earlier than usual this year: March 25th, to be exact. We will reopen at the end of the summer.
Our special May 2015 issue, however, focusing on gender — what it is, what it means, how our understanding of it is changing — will remain open to submissions until APRIL 20th. The early close only applies to our general category.
Thanks for your loyalty, your patience, and your excellent essays.