News from 2014

This barely qualifies as an update, but in October 2014, I wrote an essay called "Halloween Glossary, D-H" for Waccamaw, and I've always been pretty happy with how it turned out. In my ongoing quest to make this essay an October staple on par with the Great Pumpkin and Bobby "Boris" Pickett's entire oeuvre, I thought I'd share it again today. 

It includes one of my favorite dumb jokes I've ever made, and it starts like this:

 

DEATH
Halloween is a celebration of death, of dead things and things that kill—vampires and werewolves and zombies—but also a time of literal death, first the leaves and the grass and the millions of mosquitoes and the creatures that feed on the mosquitoes, then the end of the hopes one always pins to summer, the plans to get organized, to spend a romantic weekend in Cape Cod, to finally finish that novel manuscript, to get that scuba diving certification, to go on a safari and watch a lioness as she stalks an antelope. Also the time of year when my dog died, when I took two elderly Welsh Corgis to the local groomer in preparation for a pumpkin carving party and then returned from the groomer with two elderly Welsh Corgis, but Otis, the tri-color, the one with the little patches of brown fur like eyebrows, which invited us to attribute all sorts of human characteristics—empathy and understanding and high-level cognitive skills—was quietly suffering from a ruptured spleen. I didn’t know the spleen was ruptured then, and I ignored his abnormal behavior when he wobbled across the room wheezing and flumped in front of me with the force of a sandbag dropped from the ceiling; I patted him on the head and then left to drink beer with my friends in the city. While I was out, my wife returned home from work and called to tell me Otis wasn’t standing and could barely breathe. My wife—a nurse, normally calm and rational and never panicked (see alsoPANIC ROOM PROCEDURES)—was sobbing and I knew that the dog was dying, had been dying in front of me, that his flumping was a cry for help, that the other dog was at home watching him die and was incapable of understanding why she would never see Otis again, and so, four beers deep, I drove to meet them at the animal hospital, speeding at ninety, ninety-five, checking my phone at the same time for directions, and knowing I was endangering others’ lives, hoping only to arrive in time to see the dog one last time and to be with my wife who had grown up with this dog and who had made many unbreakable associations between the dog and her own long-deceased mother, and I remember thinking: I hope if I get pulled over, the cop is a dog-lover. I remember thinking: I hope he understands.

 

What are you even doing? On literary journals and respect

Update 9/12, 9:44: I've made a variety of minor edits since originally posting, mostly to fix some typos, add a few links, and clarify some word choices. 

Earlier today, I tweeted this short string about literary journal submissions:

I want to take a few minutes to expand on these, because I think there are some important considerations for literary journals here, and also because I think writers, especially novice writers, need to make some important choices in deciding who to work with. 

The submission fee debate has more or less been resolved; despite the resistance of some writers and journals, submission fees are becoming the norm. The justifications for submission fees typically fall into five categories: 

  1. It costs money to send submissions through snail mail anyway, so $3 is no different 
  2. The journal needs some way to cover its costs, and nobody donates or buys literary journals anymore
  3. The nominal fee deters "carpet-bomb" submissions 
  4. The journal pays writers, so fees subsidize the published writers
  5. It's a volunteer staff and editing can be grueling and thankless

Setting aside my objections to most of these points (well, except point #2, which I would suggest is indicative of a much larger problem, i.e., if you're completely unable to keep the press afloat without submission fees, then perhaps that means your press has no particular reason to exist), let's just acknowledge here that lots of smart people have debated the topic endlessly, usually respectfully, and writers have to individually determine where they draw their own line in paying fees.

Some, like friend and fellow Barrelhouse editor Dave Housley, refuse to pay fees under any circumstances.

Anecdotally, it seems Dave is in the minority. As more journals move toward paid submissions, writers are left with an increasingly limited pool of venues to submit their work, so more people are begrudgingly agreeing to pay fees.

I'm mostly in this camp. I decided a few years ago that I would never submit to a journal that charged fees but didn't pay writers. I still don't love it, and I especially don't love the idea that the relatively small roster of widely-published writers has their work subsidized by the paid fees of rejected writers, but at least the money is flowing outward toward writers. Any arrangement in which the money goes to a vague "administrative fee" or is used as the primary revenue stream for a magazine seems, at best, like a poorly considered system, and, at worst, like a scam.

But, okay, I wasn't going to get into that debate again. The point is: every writer makes his or her own choices. Some people aren't bothered at all, everyone has had their say, and here we are. I'm not a fan of submission fees, but I understand they're here to stay. I like when journals open brief fee-free periods for people who just cannot afford to spend six hundred dollars a year on submissions. I like anything a journal does that prioritizes showing basic decency and respect to writers. 

What made me particularly angry this morning, as I searched through about a hundred calls for submissions, was seeing how many journals fit all four criteria I mentioned in my first tweet: 

  1. Submission fee (usually $3, but sometimes $5, and in a few instances, $10 or more)
  2. No pay for writers
  3. Online only
  4. No promise of even a response

On their own, each of the first three traits is justifiable, depending on context. It's hard for literary journals to pay. After eight years of being almost entirely self-funded (aside from a few generous donations), Barrelhouse was finally able to pay $50 per author, but that's still criminally low, and we keep trying new approaches to generate more revenue that we can pay out to authors. Every poet, essayist, and fiction writer hates that part of the system, but also understands that if the money isn't there, the money just isn't there. "Exposure" can only keep you satisfied for so long, but again, every writer is free to make that choice. 

Online only is, in fact, not a problem at all. A lot of writers I know, including me, have begun prioritizing online publication because more people read it, the turnaround is faster, and many online venues are really well-designed and run by great editors. It's only a problem in this context, because if a journal is charging fees and not paying writers, then they are either explicitly or implicitly saying they need that money to cover costs. But if the only thing you do is pay for web hosting, a Submittable account, and maybe a Squarespace account, then your annual fees are no higher than $550-600. That cost is covered by the first 200 submissions (which will come in about 3 weeks), and then what? What, exactly, am I paying for?  The time of the editor, who, of his own volition, decided to start a website and call it Sick Hermit Crab Quarterly or whatever?

If you run an online journal and you don't pay writers, and you still cannot figure out a way to pay the very low cost of entry, then you need to reconsider whether your journal should exist. 

Despite the self-evident badness of point #4 above, it's become increasingly common. Often, it's phrased like this: "We cannot guarantee you a response. If you haven't heard back in four months, assume we've moved on." Every editor I've ever met has been a writer first. How could you be an editor and have so little respect for the time, and work, of a writer that you can't deign to make the time to send out a form email? I could reject 100 Barrelhouse submissions right now in less than the time it took me to write this paragraph. Form emails aren't great, but they're the least you could do if you're trying to operate a journal in some way that approximates respect for writers. I assume one reason journals adopt this policy is because they're overwhelmed and often forget to reply-- it happens to Barrelhouse with embarrassing frequency-- but that doesn't mean you should never respond to anyone. When you mess up, you send an apologetic email, explaining yourself. Maybe another justification is conflict-avoidance. When you reject people, they get sad, and sometimes they get mad, and sometimes they threaten you. 

And it sucks. It sucks to let writers down, to think about the daunting numbers game of submissions in the first place. It sucks to have to tell somebody No. But if you're not even willing to do that, what are you doing?

Accepting submissions is a pretty passive system already. You open a link and say, "Give me some stories" and hundreds of people flood your submission queue without you having to do anything. Then you can pick a handful of things and post them on your website and call it a journal. These things can turn out to be quite good. But often, the editor has had very little to do with the process beyond unlocking the door and telling people to show up. So when a journal shirks the basic responsibility of even responding to people, then what are they doing besides running a blog with exclusive access and a cover charge? 

The other Barrelhouse editors and I have been pretty adamant on all of these points (and have even been accused of "hostile hubris" for being so vocal about them), but I can't think of a more fundamentally important thing in the literary world than respecting the writers who are producing the work. The combination of practices that set me off amounts  to overt disrespect of the writers, and even open hostility toward them. 

I'm fortunate that I have the privilege of not needing to submit constantly. I have a good job. I have some good publications. I'm working on a few projects. I'm someone who can be selective and who can also afford the occasional submission fee with no problem at all. But if I were twenty-three and trying to figure out publishing, and I was met with nothing but journals that wanted to charge me money so they could pay their web fees, and also they couldn't even be bothered to respond to me, I don't know what I would do. I would submit anyway, I guess, and feel like shit about it. 

 

 

New Story Published

My story, "Eight Scenes from the Life of a Professional Raven" is up at Hobart today. It's the third in a series of stories I've been writing about sports mascots who are actually oversized sentient animals, rather than guys in suits. The first two are about a pig and a gorilla, respectively. Today's story starts like this:

The sky every morning tells its own story, and today when I wake before sunrise, I look up and see it is going to be a bad day. It’s hard to explain, but there’s a sense you get. You live long enough and you can read the clouds, and you can hear distant flocks migrating, and you can see the weather before anyone else.
There’s going to be a storm, and it is going to rip through this city like god’s own scythe during harvest.

Read the rest.

UPDATE: 

The story was named Longform's fiction pick of the week. This is the second time a story of mine was has been singled out by Longform.

107 Ironclad Rules for Writers Who Want to Be Better at Writing

ed. note: I posted this on my old blog a few years ago, and it was, by far, the most popular thing I've ever written online. It was lost when I overhauled the site, so I'm re-posting it belowAll advice is 100% serious and legally binding. 

1. Write every day. Except on days when you don’t feel like writing that much and you don’t have anything interesting to say.

2. Never write when you’re too hot. Beads of sweat are ideas leaking from your brain.

3. Nobody really eats turnips. They are a ridiculous food. Characters cannot eat turnips.

4. Hypnosis is the writer’s greatest tool.

5. Skinny people are often the cause of conflict. Fat people are often the solution. NO MEDIUM SIZED PEOPLE.

6. If you must write about the travails of being a writer, at least give yourself a glass eye or a cyborg hand or something.

7. After your second draft, read backwards, from last page to first. If it doesn’t make sense both forward and backward, you’ve done something wrong.

8. Always describe the smell of your protagonist’s hands.

9. Fathers and sons do not speak to each other unless one of them has lost a limb and needs help finding that limb.

10. There is no evidence that people have gills, but there is no evidence that people cannot have gills.

11. For photosynthetic purposes, it is essential that you spend time writing in the outdoors.

12. 3rd person narration, like gladiator duels, is a barbaric invention of the ancient Greeks and should never be used under any circumstances.

13. Using multiple questions marks or a question/exclamation combo makes you look an actual crazy person.

14. Wear non-restrictive clothing that will allow the ideas to flow freely around you. Tunics are good, and cheap.

15. Chronological order is the only structure the human mind has evolved to understand.

16. If at all possible, get your characters to a place without gravity.

17. Cicadas are the most symbolic and underutilized creatures in literature.

18. A sex scene only works if it’s written in precise, clinical detail.

19. More fucking profanity.

20. Always know what size shoes your characters wear. The soul is in the shoes.

21. Most people don’t understand math anyway.

22. At least one character must have a funny accent.

23. Everyone moves clockwise. Counterclockwise is for anarchists

24. No lefthanded characters. Too weird.

25. For every adverb you use, do five pushups.

26. Y is an indecisive letter; using it implies indecision.

27. Children are interesting from ages 0-2 and the not again until they’re 14.

28. Just assume everyone has a weird fetish they’d like to keep secret.

29. A nursery rhyme: short chapters make everyone happier.

30. Start with the acknowledgments page, so that you always know who you’re disappointing on your bad writing days.

31. Include at least one scene in which someone meets an estranged sibling.

32. Characters use microwaves, not ovens. Ovens take too long

33. Highlight all the verbs and replace them with other better verbs

34. Writer’s block is best cured by swallowing a penny.

35. The hard C sound conveys authority. Do not soften yourself.

36. In dialogue, include all the ‘um’s but cut the ‘uh’s

37. Conjunctions, conjunction, conjunctions!

38. Remember, every surface your characters touch is just covered with deadly microbes.

39. Mercury poisoning is great for providing plot twists.

40. Do not have more than two redheaded characters, or people will think you’re up to something.

41. Make sure the plot isn’t lifted from a Nancy Drew book.

42. If an editor gives you advice, do the opposite.

43. Buy a lot of index cards.

44. Every day, pick an unusual adjective from the dictionary and be sure to use it.

45. Your literary heroes were probably terrible people. Be more like them.

46. No boats. Boats are over.

47. No airplanes either. Nothing interesting happens on airplanes anymore.

48. The only reliable way to begin a scene is with an alarm clock going off.

49. If you’re stuck, introduce a blimp. Blimps expedite plot.

50. No lightning. It’s cliche.

51. There is always a ghost in the attic.

52. Twins are interesting.

53. At the zoo, it’s easy for people to fall over fences.

54. Present tense is for junkies and teenagers.

55. It’s easy to distinguish characters if each has a unique hat.

56. Italics makes words sound fancy.

57. Shoot for a minimum of two metaphors per page.

58. If you haven’t introduced the gun by page 50, introduce it on page 51.

59. Diners and bars are the setting for about 80% of all human conversations

60. What does a gerund do? It does nothing.

61. In dialogue, everyone should always be lying.

62. Elevators are the crucible of our social lives.

63. Readers want to know where your character bought his car, what his monthly payment is, what kind of rate he got.

64. Your character may not be a caterer. There are more caterers in movies and novels than there have been throughout the history of the world.

65. See what you can do with SONAR.

66. Time your writing schedule to coincide with the different phases of the moon.

67. Spend two decades traveling before you write a single word.

68. If, in the history of language, anyone has written a sentence like the one you’ve just written, delete that sentence and start over.

69. Most metaphors don’t have to make sense; they just need to be memorable.

70. Rain is always meaningful.

71. Linoleum floors are much less interesting than quicksand.

72. The stars can be beautiful without forcing themselves upon you. The same should apply to your writing.

73. Shakespeare did it first. You can do it second.

74. You haven’t truly made it until you’ve received a threatening email from a stranger.

75. Write as if you’ve been possessed by a demon, but, like, a nice demon.

76. Record a video of yourself sleeping at night, so you know what it looks like when you’re at your most vulnerable.

77. Most people want you to fail. Never forget this.

78. At least 25% of any book should be flashbacks.

79. Never kill a dog in your book. The dogs will know.

80. The best food to eat to stimulate your writing process is a charcuterie tray. D.H. Lawrence ate nothing but cured meats.

81. Writing is 30% perspiration, 40% inspiration, 40% good luck, 50% magic, and 1% mathematics.

82.Every sex act must result in a pregnancy.

83. Repetition is the sign of an unfit mind. If possible, never employ repetition of words or phrases, lest you seem to have an unfit mind.

84. The internet is not going away; your characters should frequently interact via email and hacking. Lots of hacking.

85. Only employ vampires if they are a metaphor for municipal government.

86. Dialect should be heavy and consistent. It is important to know whether someone is from the South, or Eurasia.

87. Leave a few blank pages at the end of your final chapter and encourage the reader to conclude it the way he or she would like.

88. One of the most important choices you will face is deciding which font to use.

89. Spill every secret you know; you can’t save them for the afterlife.

90. Write a minimum of twelve drafts. Then put the manuscript in a safe deposit box for one full year before reading it again.

91. Think about all the cool things you can do with UFOs.

92. Set the scene. A minimum of seven sentences of setting description before even mentioning a character.

93. Readers like mystery. Try to reveal as little as possible during the first two chapters.

94. Characters in neckties are boring. Characters who poach rhinos for a living are not.

95.   Every line of dialogue should be performing a minimum of five functions.

96. In your final draft, cut the last line of every paragraph, no matter what.

97. When something is REALLY IMPORTANT, put it in CAPS. It’s the only way for some readers to know.

98. A well-placed illustration can save you the trouble of writing a thousand words.

99. Writing a book is fundamentally a political act. This means at least one character must be given the opportunity to make a political speech of no fewer than 6 pages.

100. Magical realism is a term invented by occultists.

101. Write to displease whatever god you believe in.

102.Believe in monsters.

103. Contractions are a crutch for writers too lazy to type the whole word, but also crutches can be really useful, like if you have a broken leg, for example.

104. Write about the thing you love the most, and destroy it.

105. DO NOT READ other novels while writing. You don’t want to taint your vision.

106. Cut all human ties until you have finished your book. Friends are leeches, family are anchors.

107. The human body has 206 bones and 642 muscles. These are naturally perfect numbers: 206 words per page, 642 syllables per page. Every page.