Matt Bell—
Editors: When you’re nominating writing from your magazine for an award or prize, do you always nominate the work you think is the absolute best you’ve published, or do you nominate work that is maybe just among the best but that you feel might match the aesthetics and prior history of the prize or award you’re nominating for? In other words, as an editor, do you target your nominations for the Pushcart Prize and other awards/anthologies in the same way you hope that writers target their submissions to you?
hey matt. this may sound completely assholish, but i nominate writers as opposed to individual stories. if there is a writer i think deserves to have a “prize nomination” whatever thats good for, but i know constantly gets overlooked or flies under the radar, then i give them the nod, as opposed to someone i know has gotten seven or eight of them and could care less. or someone i know just likes padding their bio. i rather nominate someone who will most likely never been nominated again and could really give a shit less. again, i am acknowledging my assholism before i even say it.
hey matt. this may sound completely assholish, but i nominate writers as opposed to individual stories. if there is a writer i think deserves to have a “prize nomination” whatever thats good for, but i know constantly gets overlooked or flies under the radar, then i give them the nod, as opposed to someone i know has gotten seven or eight of them and could care less. or someone i know just likes padding their bio. i rather nominate someone who will most likely never been nominated again and could really give a shit less. again, i am acknowledging my assholism before i even say it.
hey matt. this may sound completely assholish, but i nominate writers as opposed to individual stories. if there is a writer i think deserves to have a “prize nomination” whatever thats good for, but i know constantly gets overlooked or flies under the radar, then i give them the nod, as opposed to someone i know has gotten seven or eight of them and could care less. or someone i know just likes padding their bio. i rather nominate someone who will most likely never been nominated again and could really give a shit less. again, i am acknowledging my assholism before i even say it.
Actually, I don’t think that’s assholish either. I thought about including that as one of the options in my question above, but it was getting kind of longish, so I left it out. I’m glad you brought that up. Mostly, I’m just curious about the various options, and why/when each is appropriate. I’m not sure there’s a right answer to this.
Actually, I don’t think that’s assholish either. I thought about including that as one of the options in my question above, but it was getting kind of longish, so I left it out. I’m glad you brought that up. Mostly, I’m just curious about the various options, and why/when each is appropriate. I’m not sure there’s a right answer to this.
Actually, I don’t think that’s assholish either. I thought about including that as one of the options in my question above, but it was getting kind of longish, so I left it out. I’m glad you brought that up. Mostly, I’m just curious about the various options, and why/when each is appropriate. I’m not sure there’s a right answer to this.
I go for stories. The best ones I got. “Prize winning aesthetics” be damned. I nominate the stories I love, not what I think someone else might love. I think if I did the opposite then I’d be accepting stories not on the grounds they’re good, but because I thought they might get accepted for an award. Which would be disingenuous on my part. And for what? Maybe a little boost of exposure for the mag, the hypothetical writer would get some recognition, but it would be a writer that I don’t really care about, and that would leave a bad taste in my mouth that would slowly eat away at my resolve. So it wasn’t worth it to begin with.
Anyway, maybe that’s the way the game is played, and the reason why none of my nominees have ever won anything.
I go for stories. The best ones I got. “Prize winning aesthetics” be damned. I nominate the stories I love, not what I think someone else might love. I think if I did the opposite then I’d be accepting stories not on the grounds they’re good, but because I thought they might get accepted for an award. Which would be disingenuous on my part. And for what? Maybe a little boost of exposure for the mag, the hypothetical writer would get some recognition, but it would be a writer that I don’t really care about, and that would leave a bad taste in my mouth that would slowly eat away at my resolve. So it wasn’t worth it to begin with.
Anyway, maybe that’s the way the game is played, and the reason why none of my nominees have ever won anything.
I go for stories. The best ones I got. “Prize winning aesthetics” be damned. I nominate the stories I love, not what I think someone else might love. I think if I did the opposite then I’d be accepting stories not on the grounds they’re good, but because I thought they might get accepted for an award. Which would be disingenuous on my part. And for what? Maybe a little boost of exposure for the mag, the hypothetical writer would get some recognition, but it would be a writer that I don’t really care about, and that would leave a bad taste in my mouth that would slowly eat away at my resolve. So it wasn’t worth it to begin with.
Anyway, maybe that’s the way the game is played, and the reason why none of my nominees have ever won anything.
The best stories. period. It’s the only way I could do it.
The best stories. period. It’s the only way I could do it.
The best stories. period. It’s the only way I could do it.
*nominations, sorry. Not nominees.
*nominations, sorry. Not nominees.
*nominations, sorry. Not nominees.
Agree Nathan and Chris. While every issue you put out is full of great stories, otherwise they wouldn’t have gotten in, there are most likely only a handful of stories that really blew you away, really got to you emotionally, bared that emotional truth. If it had me laughing out loud, or on the verge of tears (or hell, actually crying), turned me on, or filled me with anger and rage…then those are the ones I nominate.
After that, if say you are nominating three stories, and have much MORE than three, I do try to look at the people, like what Barry said. Is it somebody that is really serious about writing, or just dabbling? Is it somebody that is a giver, a true member of the writing community. All other things equal, I do want to nominate the men and women that I think have a lot to offer, stand a chance to do well in the contest, and maybe people who have a large body of work that I really enjoy.
I haven’t done a ton of editing, just guest editing for Colored Chalk and co-edit for Sideshow Fables.
Agree Nathan and Chris. While every issue you put out is full of great stories, otherwise they wouldn’t have gotten in, there are most likely only a handful of stories that really blew you away, really got to you emotionally, bared that emotional truth. If it had me laughing out loud, or on the verge of tears (or hell, actually crying), turned me on, or filled me with anger and rage…then those are the ones I nominate.
After that, if say you are nominating three stories, and have much MORE than three, I do try to look at the people, like what Barry said. Is it somebody that is really serious about writing, or just dabbling? Is it somebody that is a giver, a true member of the writing community. All other things equal, I do want to nominate the men and women that I think have a lot to offer, stand a chance to do well in the contest, and maybe people who have a large body of work that I really enjoy.
I haven’t done a ton of editing, just guest editing for Colored Chalk and co-edit for Sideshow Fables.
Agree Nathan and Chris. While every issue you put out is full of great stories, otherwise they wouldn’t have gotten in, there are most likely only a handful of stories that really blew you away, really got to you emotionally, bared that emotional truth. If it had me laughing out loud, or on the verge of tears (or hell, actually crying), turned me on, or filled me with anger and rage…then those are the ones I nominate.
After that, if say you are nominating three stories, and have much MORE than three, I do try to look at the people, like what Barry said. Is it somebody that is really serious about writing, or just dabbling? Is it somebody that is a giver, a true member of the writing community. All other things equal, I do want to nominate the men and women that I think have a lot to offer, stand a chance to do well in the contest, and maybe people who have a large body of work that I really enjoy.
I haven’t done a ton of editing, just guest editing for Colored Chalk and co-edit for Sideshow Fables.
Richard, your comment is really interesting, because you start out with agreeing that it’s the best stories period in the first paragraph, then immediately qualify it that there are other considerations (four or five in your second paragraph, I think.)
It’s more complicated than just “best stories period,” I think. (Although that’s a good place to start.) Especially if, as you noted, there will be far more stories that you love eligible than can ever be nominated.
Richard, your comment is really interesting, because you start out with agreeing that it’s the best stories period in the first paragraph, then immediately qualify it that there are other considerations (four or five in your second paragraph, I think.)
It’s more complicated than just “best stories period,” I think. (Although that’s a good place to start.) Especially if, as you noted, there will be far more stories that you love eligible than can ever be nominated.
Richard, your comment is really interesting, because you start out with agreeing that it’s the best stories period in the first paragraph, then immediately qualify it that there are other considerations (four or five in your second paragraph, I think.)
It’s more complicated than just “best stories period,” I think. (Although that’s a good place to start.) Especially if, as you noted, there will be far more stories that you love eligible than can ever be nominated.
I like your worry about how thinking about winning prizes would mess up your thinking when accepting stories. I never think of two processes together, but I’m sure there are editors who do. Good point.
I like your worry about how thinking about winning prizes would mess up your thinking when accepting stories. I never think of two processes together, but I’m sure there are editors who do. Good point.
I like your worry about how thinking about winning prizes would mess up your thinking when accepting stories. I never think of two processes together, but I’m sure there are editors who do. Good point.
So, if you have three stories that you think are clearly the best from a year’s worth of issues, you submit those three to everything? Pushcart, Best American, Best of the Web, Million Writers, etc.?
So, if you have three stories that you think are clearly the best from a year’s worth of issues, you submit those three to everything? Pushcart, Best American, Best of the Web, Million Writers, etc.?
So, if you have three stories that you think are clearly the best from a year’s worth of issues, you submit those three to everything? Pushcart, Best American, Best of the Web, Million Writers, etc.?
You know, I don’t think you can just say, best stories. I like everything we publish and clearly there is work that punches my gut more than others but there’s no story I wouldn’t nominate for a prize. We try to make our nominations targeted. There are stories, for example, we know would have no shot at BASS, particularly those that are extremely experimental. There’s room for pragmatism in this. In those cases, we submit that writing to venues that might be more open to that kind of work. Quality writing is a given but I think it’s naive, perhaps, to think that you shouldn’t use some strategy in what kind of work you submit where for prizes. The purpose of submitting to prize venues is for our writer to receive well-deserved recognition, and to give them a fighting chance.
You know, I don’t think you can just say, best stories. I like everything we publish and clearly there is work that punches my gut more than others but there’s no story I wouldn’t nominate for a prize. We try to make our nominations targeted. There are stories, for example, we know would have no shot at BASS, particularly those that are extremely experimental. There’s room for pragmatism in this. In those cases, we submit that writing to venues that might be more open to that kind of work. Quality writing is a given but I think it’s naive, perhaps, to think that you shouldn’t use some strategy in what kind of work you submit where for prizes. The purpose of submitting to prize venues is for our writer to receive well-deserved recognition, and to give them a fighting chance.
You know, I don’t think you can just say, best stories. I like everything we publish and clearly there is work that punches my gut more than others but there’s no story I wouldn’t nominate for a prize. We try to make our nominations targeted. There are stories, for example, we know would have no shot at BASS, particularly those that are extremely experimental. There’s room for pragmatism in this. In those cases, we submit that writing to venues that might be more open to that kind of work. Quality writing is a given but I think it’s naive, perhaps, to think that you shouldn’t use some strategy in what kind of work you submit where for prizes. The purpose of submitting to prize venues is for our writer to receive well-deserved recognition, and to give them a fighting chance.
At Freight Stories, we may lean toward nominating “emerging” writers (a term that still makes me itchy, I’ll admit) over the already-appeared-in-B.A.S.S. authors we’ve published, especially for certain anthologies. Roxane and the others above nicely articulate a lot of the factors we also consider. It’s an imperfect process.
Because BEST OF THE WEB, for instance, publishes so many pieces across the genres, it’s unlikely that they (that is, you) are going to choose many longer stories — and we’re happy to publish longer stories, even novellas, online. So this year, we nominated shorter stories by three writers that we felt could have been a better fit. (We were wrong.) For the Pushcart, though, we nominated two of those same stories, plus four other (and longer) ones. For B.A.S.S., we sent a printout of each issue’s PDF and a letter highlighting certain stories in each issue. For the others — Million Writers Award, et. al. — we try to spread the love around as best we can. Though now, looking over our running list of nominations, we did nominate one story for all of them, a piece by Andrew Roe that nicely walks the line between the various distinctions one might make between online and print, experimental and traditional, and so on.
But there are other factors, too, I suppose. I’m curious, editors: Have you ever not nominated an otherwise deserving story because of behind-the-scenes drama with the author? Are you less likely to nominate a story if the author asks and/or tells you to nominate it?
At Freight Stories, we may lean toward nominating “emerging” writers (a term that still makes me itchy, I’ll admit) over the already-appeared-in-B.A.S.S. authors we’ve published, especially for certain anthologies. Roxane and the others above nicely articulate a lot of the factors we also consider. It’s an imperfect process.
Because BEST OF THE WEB, for instance, publishes so many pieces across the genres, it’s unlikely that they (that is, you) are going to choose many longer stories — and we’re happy to publish longer stories, even novellas, online. So this year, we nominated shorter stories by three writers that we felt could have been a better fit. (We were wrong.) For the Pushcart, though, we nominated two of those same stories, plus four other (and longer) ones. For B.A.S.S., we sent a printout of each issue’s PDF and a letter highlighting certain stories in each issue. For the others — Million Writers Award, et. al. — we try to spread the love around as best we can. Though now, looking over our running list of nominations, we did nominate one story for all of them, a piece by Andrew Roe that nicely walks the line between the various distinctions one might make between online and print, experimental and traditional, and so on.
But there are other factors, too, I suppose. I’m curious, editors: Have you ever not nominated an otherwise deserving story because of behind-the-scenes drama with the author? Are you less likely to nominate a story if the author asks and/or tells you to nominate it?
At Freight Stories, we may lean toward nominating “emerging” writers (a term that still makes me itchy, I’ll admit) over the already-appeared-in-B.A.S.S. authors we’ve published, especially for certain anthologies. Roxane and the others above nicely articulate a lot of the factors we also consider. It’s an imperfect process.
Because BEST OF THE WEB, for instance, publishes so many pieces across the genres, it’s unlikely that they (that is, you) are going to choose many longer stories — and we’re happy to publish longer stories, even novellas, online. So this year, we nominated shorter stories by three writers that we felt could have been a better fit. (We were wrong.) For the Pushcart, though, we nominated two of those same stories, plus four other (and longer) ones. For B.A.S.S., we sent a printout of each issue’s PDF and a letter highlighting certain stories in each issue. For the others — Million Writers Award, et. al. — we try to spread the love around as best we can. Though now, looking over our running list of nominations, we did nominate one story for all of them, a piece by Andrew Roe that nicely walks the line between the various distinctions one might make between online and print, experimental and traditional, and so on.
But there are other factors, too, I suppose. I’m curious, editors: Have you ever not nominated an otherwise deserving story because of behind-the-scenes drama with the author? Are you less likely to nominate a story if the author asks and/or tells you to nominate it?
At Willow Springs, we submit our favorite work. Sometimes this means nominating a particular writer who seems to have less of a shot at a particular award. I’ve nominated one person for a pushcart 3 times, and that writer’s never won. Next time we publish him, I’ll probably nominate him again. I don’t think this is a protest nomination. I just think his work is incredible.
At Willow Springs, we submit our favorite work. Sometimes this means nominating a particular writer who seems to have less of a shot at a particular award. I’ve nominated one person for a pushcart 3 times, and that writer’s never won. Next time we publish him, I’ll probably nominate him again. I don’t think this is a protest nomination. I just think his work is incredible.
At Willow Springs, we submit our favorite work. Sometimes this means nominating a particular writer who seems to have less of a shot at a particular award. I’ve nominated one person for a pushcart 3 times, and that writer’s never won. Next time we publish him, I’ll probably nominate him again. I don’t think this is a protest nomination. I just think his work is incredible.
That’s a good point. I never really thought about it like that. I nominate to the smaller antholigies. I never nominated anything to BASS just cause I’m slightly cynical and assume that the only way to get a writer’s story antholigized in there is to have a literary agent pull a few strings. Clearly Salman Rushdie or whatever big name is editing on any given year isn’t going to be reading either of our magazines, but do you think PANK or Annnalemma would even make it past a prelim reader? I’m honestly curious, cause in my brain those first round readers just throw my book in a healthy fire they keep burning in middle of their office and wait for the mailman to deliver VQR.
That’s a good point. I never really thought about it like that. I nominate to the smaller antholigies. I never nominated anything to BASS just cause I’m slightly cynical and assume that the only way to get a writer’s story antholigized in there is to have a literary agent pull a few strings. Clearly Salman Rushdie or whatever big name is editing on any given year isn’t going to be reading either of our magazines, but do you think PANK or Annnalemma would even make it past a prelim reader? I’m honestly curious, cause in my brain those first round readers just throw my book in a healthy fire they keep burning in middle of their office and wait for the mailman to deliver VQR.
That’s a good point. I never really thought about it like that. I nominate to the smaller antholigies. I never nominated anything to BASS just cause I’m slightly cynical and assume that the only way to get a writer’s story antholigized in there is to have a literary agent pull a few strings. Clearly Salman Rushdie or whatever big name is editing on any given year isn’t going to be reading either of our magazines, but do you think PANK or Annnalemma would even make it past a prelim reader? I’m honestly curious, cause in my brain those first round readers just throw my book in a healthy fire they keep burning in middle of their office and wait for the mailman to deliver VQR.
Chris, there’s a reason Ted Genoways’ earns $134,000 a year.
Kidding, I just wanted to mention his name since Matt started this great discussion.
http://www.vqronline.org/blog/2010/01/15/mojo-death-of-fiction/
Chris, there’s a reason Ted Genoways’ earns $134,000 a year.
Kidding, I just wanted to mention his name since Matt started this great discussion.
http://www.vqronline.org/blog/2010/01/15/mojo-death-of-fiction/
Chris, there’s a reason Ted Genoways’ earns $134,000 a year.
Kidding, I just wanted to mention his name since Matt started this great discussion.
http://www.vqronline.org/blog/2010/01/15/mojo-death-of-fiction/
I’m new to editing but if a writer told me to nominate his/her story I’d certainly not follow orders, even if that writer was Chris Adrian or someone else I admire as much.
Unless they paid me a hefty fee.
I’m new to editing but if a writer told me to nominate his/her story I’d certainly not follow orders, even if that writer was Chris Adrian or someone else I admire as much.
Unless they paid me a hefty fee.
I’m new to editing but if a writer told me to nominate his/her story I’d certainly not follow orders, even if that writer was Chris Adrian or someone else I admire as much.
Unless they paid me a hefty fee.
I don’t know, Chris. I too am cynical and when you look at BASS, it’s generally the really well-known magazines that have any kind of chance but being a Libra, I am as hopeful as I am cynical so we submit to BASS and hope there’s something that worms its way into the readers’ hearts. I do tend to believe the magazine at least gets looked at.
I don’t know, Chris. I too am cynical and when you look at BASS, it’s generally the really well-known magazines that have any kind of chance but being a Libra, I am as hopeful as I am cynical so we submit to BASS and hope there’s something that worms its way into the readers’ hearts. I do tend to believe the magazine at least gets looked at.
I don’t know, Chris. I too am cynical and when you look at BASS, it’s generally the really well-known magazines that have any kind of chance but being a Libra, I am as hopeful as I am cynical so we submit to BASS and hope there’s something that worms its way into the readers’ hearts. I do tend to believe the magazine at least gets looked at.
“oh and by the way, do you think you could nominate my story for a pushcart? i’ve been working really hard and it’d be a tremendous boost to not only my career, but yours as well.
thx in advance,
james”
“oh and by the way, do you think you could nominate my story for a pushcart? i’ve been working really hard and it’d be a tremendous boost to not only my career, but yours as well.
thx in advance,
james”
“oh and by the way, do you think you could nominate my story for a pushcart? i’ve been working really hard and it’d be a tremendous boost to not only my career, but yours as well.
thx in advance,
james”
Largely yes, unless there is some limitation within the contest (length, etc) that excludes one of them. Then another has to be chosen for that contest.
Largely yes, unless there is some limitation within the contest (length, etc) that excludes one of them. Then another has to be chosen for that contest.
Largely yes, unless there is some limitation within the contest (length, etc) that excludes one of them. Then another has to be chosen for that contest.
These are good points.
These are good points.
These are good points.
Andrew, you ask a really good question. I try to ignore my personal opinions about the writers we nominate.I might not like someone but that doesn’t mean their work isn’t deserving and the work is what matters. The reverse is true as well. Just because I really like a writer personally doesn’t mean their work should be nominated on that basis. That said, we’ve no behind the scenes drama I can think of with the writers we publish and only a couple writers have asked us to nominate their work and I don’t mind that. If you don’t believe in yourself, who will?
Andrew, you ask a really good question. I try to ignore my personal opinions about the writers we nominate.I might not like someone but that doesn’t mean their work isn’t deserving and the work is what matters. The reverse is true as well. Just because I really like a writer personally doesn’t mean their work should be nominated on that basis. That said, we’ve no behind the scenes drama I can think of with the writers we publish and only a couple writers have asked us to nominate their work and I don’t mind that. If you don’t believe in yourself, who will?
Andrew, you ask a really good question. I try to ignore my personal opinions about the writers we nominate.I might not like someone but that doesn’t mean their work isn’t deserving and the work is what matters. The reverse is true as well. Just because I really like a writer personally doesn’t mean their work should be nominated on that basis. That said, we’ve no behind the scenes drama I can think of with the writers we publish and only a couple writers have asked us to nominate their work and I don’t mind that. If you don’t believe in yourself, who will?
I’m not saying that the methods of Barry or Roxane are wrong. They sound perfectly fine to me. They just aren’t the way I do it. I have done what seemed teh right way for me. It may not be the right way for others.
I’m not saying that the methods of Barry or Roxane are wrong. They sound perfectly fine to me. They just aren’t the way I do it. I have done what seemed teh right way for me. It may not be the right way for others.
I’m not saying that the methods of Barry or Roxane are wrong. They sound perfectly fine to me. They just aren’t the way I do it. I have done what seemed teh right way for me. It may not be the right way for others.
wow, roxane, the last part of your answer surprises me. I get the “believe in yourself” thing but it would never occur to me to ask an editor to nominate a piece of mine that i thought was the best thing i’d ever written and all that.
wow, roxane, the last part of your answer surprises me. I get the “believe in yourself” thing but it would never occur to me to ask an editor to nominate a piece of mine that i thought was the best thing i’d ever written and all that.
wow, roxane, the last part of your answer surprises me. I get the “believe in yourself” thing but it would never occur to me to ask an editor to nominate a piece of mine that i thought was the best thing i’d ever written and all that.
I’ll echo a few others here. At LITnIMAGE we nominate our personal favorites over what we think might win. However, I do try to nominate a fair amount of authors rather than repeatedly nominate the same ones. That said, stories I REALLY like will get nominated for multiple awards. Most of what we publish is really short, too, so that weeds things out when there’s a minimum word count…
I’ll echo a few others here. At LITnIMAGE we nominate our personal favorites over what we think might win. However, I do try to nominate a fair amount of authors rather than repeatedly nominate the same ones. That said, stories I REALLY like will get nominated for multiple awards. Most of what we publish is really short, too, so that weeds things out when there’s a minimum word count…
I’ll echo a few others here. At LITnIMAGE we nominate our personal favorites over what we think might win. However, I do try to nominate a fair amount of authors rather than repeatedly nominate the same ones. That said, stories I REALLY like will get nominated for multiple awards. Most of what we publish is really short, too, so that weeds things out when there’s a minimum word count…
Dave, I would never ask to be nominated either. I want to be nominated, hell yes, but I want editors to love my work so much they want to nominate without the suggestion. That said, I do not begrudge a writer who has the confidence, ambition, or testicular fortitude to say look, I want you to nominate me for this award. Also, because a writer asks does not mean they shall receive.
Dave, I would never ask to be nominated either. I want to be nominated, hell yes, but I want editors to love my work so much they want to nominate without the suggestion. That said, I do not begrudge a writer who has the confidence, ambition, or testicular fortitude to say look, I want you to nominate me for this award. Also, because a writer asks does not mean they shall receive.
Dave, I would never ask to be nominated either. I want to be nominated, hell yes, but I want editors to love my work so much they want to nominate without the suggestion. That said, I do not begrudge a writer who has the confidence, ambition, or testicular fortitude to say look, I want you to nominate me for this award. Also, because a writer asks does not mean they shall receive.
i hate nominating things for things. its the worst part about being an editor, having to choose beyond what you ever intended to choose for, choosing among the already chosen. i have the same questions you bring up, do i nominate what i think is best or what i think is more likely to win? i hate the idea of doing the latter but to some extent i probably do it because i’m publishing i think a lot of, in the minds of normals, wtf pieces. i dont agree with what barry is saying, it shouldn’t be a pity party. probably because i’m more of an asshole than he is though. i end up having no idea and just pick things probably for my own strange reasons.
i hate nominating things for things. its the worst part about being an editor, having to choose beyond what you ever intended to choose for, choosing among the already chosen. i have the same questions you bring up, do i nominate what i think is best or what i think is more likely to win? i hate the idea of doing the latter but to some extent i probably do it because i’m publishing i think a lot of, in the minds of normals, wtf pieces. i dont agree with what barry is saying, it shouldn’t be a pity party. probably because i’m more of an asshole than he is though. i end up having no idea and just pick things probably for my own strange reasons.
i hate nominating things for things. its the worst part about being an editor, having to choose beyond what you ever intended to choose for, choosing among the already chosen. i have the same questions you bring up, do i nominate what i think is best or what i think is more likely to win? i hate the idea of doing the latter but to some extent i probably do it because i’m publishing i think a lot of, in the minds of normals, wtf pieces. i dont agree with what barry is saying, it shouldn’t be a pity party. probably because i’m more of an asshole than he is though. i end up having no idea and just pick things probably for my own strange reasons.
We work to read each story on its own terms, and we try to do that throughout the process, even to the nomination stage, if it gets that far. But there are certainly writers I might root a little harder for, depending on their attitude and other factors not on the page.
We work to read each story on its own terms, and we try to do that throughout the process, even to the nomination stage, if it gets that far. But there are certainly writers I might root a little harder for, depending on their attitude and other factors not on the page.
We work to read each story on its own terms, and we try to do that throughout the process, even to the nomination stage, if it gets that far. But there are certainly writers I might root a little harder for, depending on their attitude and other factors not on the page.
And I forgot to add: the few writers who’ve nudged us to nominate them or send their work to B.A.S.S. are writers who, regardless of personality quirks, trusted us to shepherd their absolute best work into the world, and we’d planned to nominate them, anyway.
After all of this, I’d like to say that right now, I’m really liking the Wigleaf Top 50 precisely because I don’t have to do anything. If we published very short stories that were good enough, I can trust they’ll be considered. (Two made it last year.)
And I forgot to add: the few writers who’ve nudged us to nominate them or send their work to B.A.S.S. are writers who, regardless of personality quirks, trusted us to shepherd their absolute best work into the world, and we’d planned to nominate them, anyway.
After all of this, I’d like to say that right now, I’m really liking the Wigleaf Top 50 precisely because I don’t have to do anything. If we published very short stories that were good enough, I can trust they’ll be considered. (Two made it last year.)
And I forgot to add: the few writers who’ve nudged us to nominate them or send their work to B.A.S.S. are writers who, regardless of personality quirks, trusted us to shepherd their absolute best work into the world, and we’d planned to nominate them, anyway.
After all of this, I’d like to say that right now, I’m really liking the Wigleaf Top 50 precisely because I don’t have to do anything. If we published very short stories that were good enough, I can trust they’ll be considered. (Two made it last year.)
I guess to me the “suggestion” itself is so fucked up I can’t get past it.
Maybe this ties into the post you did months ago on here – i’ll paraphrase it as “we all know each other” – for me, there are lines you don’t cross and one big one in “our” world is deciding to raise your hand, cough, and say hey could you nominate me.
I mean, of course I know editors won’t necessarily honor the request, but I’d have trouble nominating a story after such a request came in the door (even if before said request i’d definitely planned on nominating it).
I guess to me the “suggestion” itself is so fucked up I can’t get past it.
Maybe this ties into the post you did months ago on here – i’ll paraphrase it as “we all know each other” – for me, there are lines you don’t cross and one big one in “our” world is deciding to raise your hand, cough, and say hey could you nominate me.
I mean, of course I know editors won’t necessarily honor the request, but I’d have trouble nominating a story after such a request came in the door (even if before said request i’d definitely planned on nominating it).
I guess to me the “suggestion” itself is so fucked up I can’t get past it.
Maybe this ties into the post you did months ago on here – i’ll paraphrase it as “we all know each other” – for me, there are lines you don’t cross and one big one in “our” world is deciding to raise your hand, cough, and say hey could you nominate me.
I mean, of course I know editors won’t necessarily honor the request, but I’d have trouble nominating a story after such a request came in the door (even if before said request i’d definitely planned on nominating it).
“And I forgot to add: the few writers who’ve nudged us to nominate them or send their work to B.A.S.S. are writers who, regardless of personality quirks, trusted us to shepherd their absolute best work into the world, and we’d planned to nominate them, anyway.”
Andrew, I’m interested in this. These writers, were they solicited to submit to Freight Stories? If not, I guess I’m not seeing the whole “trusted you to shepherd their absolute best work into the world thing.”
First and foremost, I’m a writer. I like being an editor, but I’m new to it. I guess I just can’t wrap my arms around a writer, no matter how talented, requesting that an unsolicited story should be nominated b/c said writer trusted you … To me, as editor, you’ve done your job by publishing said story. I guess if you approached some SS writer who is HUGE (ha, there are tons I guess, the ones living in mansions and all that) and said writer said he/she’d submit a “special” story to you but only if down the road you considered it closely for awards…okay. But, if said writer deigned to send you a story through your regular submission process, what in the world do you owe the writer after publishing said story? If you decide to nominate
I just can’t get over the idea that authorial intrusion is remotely acceptable in the decision to nominate certain stories, even if editors don’t “honor” the requests themselves (and only nominate stories they were going to nominate “anyway”).
i really don’t know jack about nominating stories or having anything of mine nominated…so my “stake” in this is really flimsy…i’m just astounded to hear editors here talking about “hints”/”requests” from writers as if it’s expected/okay/no big deal.
“And I forgot to add: the few writers who’ve nudged us to nominate them or send their work to B.A.S.S. are writers who, regardless of personality quirks, trusted us to shepherd their absolute best work into the world, and we’d planned to nominate them, anyway.”
Andrew, I’m interested in this. These writers, were they solicited to submit to Freight Stories? If not, I guess I’m not seeing the whole “trusted you to shepherd their absolute best work into the world thing.”
First and foremost, I’m a writer. I like being an editor, but I’m new to it. I guess I just can’t wrap my arms around a writer, no matter how talented, requesting that an unsolicited story should be nominated b/c said writer trusted you … To me, as editor, you’ve done your job by publishing said story. I guess if you approached some SS writer who is HUGE (ha, there are tons I guess, the ones living in mansions and all that) and said writer said he/she’d submit a “special” story to you but only if down the road you considered it closely for awards…okay. But, if said writer deigned to send you a story through your regular submission process, what in the world do you owe the writer after publishing said story? If you decide to nominate
I just can’t get over the idea that authorial intrusion is remotely acceptable in the decision to nominate certain stories, even if editors don’t “honor” the requests themselves (and only nominate stories they were going to nominate “anyway”).
i really don’t know jack about nominating stories or having anything of mine nominated…so my “stake” in this is really flimsy…i’m just astounded to hear editors here talking about “hints”/”requests” from writers as if it’s expected/okay/no big deal.
“And I forgot to add: the few writers who’ve nudged us to nominate them or send their work to B.A.S.S. are writers who, regardless of personality quirks, trusted us to shepherd their absolute best work into the world, and we’d planned to nominate them, anyway.”
Andrew, I’m interested in this. These writers, were they solicited to submit to Freight Stories? If not, I guess I’m not seeing the whole “trusted you to shepherd their absolute best work into the world thing.”
First and foremost, I’m a writer. I like being an editor, but I’m new to it. I guess I just can’t wrap my arms around a writer, no matter how talented, requesting that an unsolicited story should be nominated b/c said writer trusted you … To me, as editor, you’ve done your job by publishing said story. I guess if you approached some SS writer who is HUGE (ha, there are tons I guess, the ones living in mansions and all that) and said writer said he/she’d submit a “special” story to you but only if down the road you considered it closely for awards…okay. But, if said writer deigned to send you a story through your regular submission process, what in the world do you owe the writer after publishing said story? If you decide to nominate
I just can’t get over the idea that authorial intrusion is remotely acceptable in the decision to nominate certain stories, even if editors don’t “honor” the requests themselves (and only nominate stories they were going to nominate “anyway”).
i really don’t know jack about nominating stories or having anything of mine nominated…so my “stake” in this is really flimsy…i’m just astounded to hear editors here talking about “hints”/”requests” from writers as if it’s expected/okay/no big deal.
“and said writer said he/she’d submit a “special” story to you…”
shit, that should be “and THAT writer said he/she’d submit a “special” story to you…”
“and said writer said he/she’d submit a “special” story to you…”
shit, that should be “and THAT writer said he/she’d submit a “special” story to you…”
I feel like we owe it to the writers we publish to advocate on their behalf, even if B.A.S.S. (what I normally call BEST A.S.S.) is a moonshot.
I feel like we owe it to the writers we publish to advocate on their behalf, even if B.A.S.S. (what I normally call BEST A.S.S.) is a moonshot.
“and said writer said he/she’d submit a “special” story to you…”
shit, that should be “and THAT writer said he/she’d submit a “special” story to you…”
I feel like we owe it to the writers we publish to advocate on their behalf, even if B.A.S.S. (what I normally call BEST A.S.S.) is a moonshot.
[…] HTMLGIANT […]
http://www.everywritersresource.com/bestamericanshortstories.html
That is apparently a list of every magazine that’s had a story in BASS (dunno how up to date it is). There are some smaller magazines in there.
http://www.everywritersresource.com/bestamericanshortstories.html
That is apparently a list of every magazine that’s had a story in BASS (dunno how up to date it is). There are some smaller magazines in there.
http://www.everywritersresource.com/bestamericanshortstories.html
That is apparently a list of every magazine that’s had a story in BASS (dunno how up to date it is). There are some smaller magazines in there.
I have to admit Dave your stance on this surprises me but I hear what you’re saying. As I said, not my cup of tea but I see no harm in it nor do I consider it a line that cannot be crossed. It’s like campaigning for election. Of course, I don’t think anyone who has ever asked has been successful in their request with us. So there’s that.
I have to admit Dave your stance on this surprises me but I hear what you’re saying. As I said, not my cup of tea but I see no harm in it nor do I consider it a line that cannot be crossed. It’s like campaigning for election. Of course, I don’t think anyone who has ever asked has been successful in their request with us. So there’s that.
I have to admit Dave your stance on this surprises me but I hear what you’re saying. As I said, not my cup of tea but I see no harm in it nor do I consider it a line that cannot be crossed. It’s like campaigning for election. Of course, I don’t think anyone who has ever asked has been successful in their request with us. So there’s that.
ha, roxane, perhaps the marketplace of ideas angle is the way for me to think about this. yeah, i don’t know why i’m so feisty about it. i guess maybe i have naive notions about honor and integrity and all that. i don’t say that flippantly. what i guess i mean is that maybe i’m thinking about all of this as some “pure” system where writers write stories and editors/journals publish them and then the latter decide who to nominate and the writers are happy. the whole election analogy at first helped me see where you’re coming from but the more i think about it the more i’m unhappy picturing it that way. i guess the bottom line though is that indeed it’s a free market and if an editor can be convinced/swayed to nominate someone b/c said person is pushy or “sweet” in asking…then so it goes. thanks for the dialogue. maybe i just need to work out tonight.
ha, roxane, perhaps the marketplace of ideas angle is the way for me to think about this. yeah, i don’t know why i’m so feisty about it. i guess maybe i have naive notions about honor and integrity and all that. i don’t say that flippantly. what i guess i mean is that maybe i’m thinking about all of this as some “pure” system where writers write stories and editors/journals publish them and then the latter decide who to nominate and the writers are happy. the whole election analogy at first helped me see where you’re coming from but the more i think about it the more i’m unhappy picturing it that way. i guess the bottom line though is that indeed it’s a free market and if an editor can be convinced/swayed to nominate someone b/c said person is pushy or “sweet” in asking…then so it goes. thanks for the dialogue. maybe i just need to work out tonight.
ha, roxane, perhaps the marketplace of ideas angle is the way for me to think about this. yeah, i don’t know why i’m so feisty about it. i guess maybe i have naive notions about honor and integrity and all that. i don’t say that flippantly. what i guess i mean is that maybe i’m thinking about all of this as some “pure” system where writers write stories and editors/journals publish them and then the latter decide who to nominate and the writers are happy. the whole election analogy at first helped me see where you’re coming from but the more i think about it the more i’m unhappy picturing it that way. i guess the bottom line though is that indeed it’s a free market and if an editor can be convinced/swayed to nominate someone b/c said person is pushy or “sweet” in asking…then so it goes. thanks for the dialogue. maybe i just need to work out tonight.
Well, that’s why I asked the question — I didn’t expect such nudges from writers, either. It’s happened three times in a little over two years. But in each case, we felt the work was already among the best we’d published, so we didn’t alter the decision to nominate them for anthologies simply because the writers had the ____ to ask us to do so. That would be a reaction to the writers’ personalities, not their work.
My language about shepherding a story into the world applies to any story we accept for publication, and most have been unsolicited. Beyond publishing the story, our role is also to advocate on that writer’s behalf, when appropriate (possible nominations, promoting the writer elsewhere online, and so on).
What intrigues me about your response, however, is the supposition that a solicited story is always treated differently/better by editors. Maybe that’s the case elsewhere. We treat all of the stories the same. (Believe me, it would be a lot easier to simply accept inferior work by “famous” or critically-acclaimed writers, but in the end, it doesn’t serve that writer’s best interest to, or ours as a journal, to publish bad or not-quite-good work.)
And I do think a writer offers a kind of trust when submitting work to a journal. In some ways, it’s the highest form of praise for a publication.
Well, that’s why I asked the question — I didn’t expect such nudges from writers, either. It’s happened three times in a little over two years. But in each case, we felt the work was already among the best we’d published, so we didn’t alter the decision to nominate them for anthologies simply because the writers had the ____ to ask us to do so. That would be a reaction to the writers’ personalities, not their work.
My language about shepherding a story into the world applies to any story we accept for publication, and most have been unsolicited. Beyond publishing the story, our role is also to advocate on that writer’s behalf, when appropriate (possible nominations, promoting the writer elsewhere online, and so on).
What intrigues me about your response, however, is the supposition that a solicited story is always treated differently/better by editors. Maybe that’s the case elsewhere. We treat all of the stories the same. (Believe me, it would be a lot easier to simply accept inferior work by “famous” or critically-acclaimed writers, but in the end, it doesn’t serve that writer’s best interest to, or ours as a journal, to publish bad or not-quite-good work.)
And I do think a writer offers a kind of trust when submitting work to a journal. In some ways, it’s the highest form of praise for a publication.
Well, that’s why I asked the question — I didn’t expect such nudges from writers, either. It’s happened three times in a little over two years. But in each case, we felt the work was already among the best we’d published, so we didn’t alter the decision to nominate them for anthologies simply because the writers had the ____ to ask us to do so. That would be a reaction to the writers’ personalities, not their work.
My language about shepherding a story into the world applies to any story we accept for publication, and most have been unsolicited. Beyond publishing the story, our role is also to advocate on that writer’s behalf, when appropriate (possible nominations, promoting the writer elsewhere online, and so on).
What intrigues me about your response, however, is the supposition that a solicited story is always treated differently/better by editors. Maybe that’s the case elsewhere. We treat all of the stories the same. (Believe me, it would be a lot easier to simply accept inferior work by “famous” or critically-acclaimed writers, but in the end, it doesn’t serve that writer’s best interest to, or ours as a journal, to publish bad or not-quite-good work.)
And I do think a writer offers a kind of trust when submitting work to a journal. In some ways, it’s the highest form of praise for a publication.
Andrew, believe me I had more language about the “implied” notion that hints about “solicited” work is different, somehow less “evil.” My post was so long that I cut it, which I shouldn’t have done.
Whether or not I solicit a writer to contribute or not, I would still be annoyed/surprised to get a “hey dave, how are ya, by the by can you nominate me?” email.
I guess, also, I agree with your view of the editors’ role about advocating on the behalf … BUT I would change your apostrophe from “writer’s” to “writers’ behalf. In other words, you owe a collective debt to all eligible writers (for nominations purposes), or none of the writers. So, then, it would fall on you the editor to decide who to nominate, as it should be. The writer should back the fuck off the decision making process and worry about what to write next, not e-mailing you with friendly hints to look out for them instead of the other eligible writers.
So, I don’t disagree with you on almost everything you say, including the implicit trust in submitting (solicited or not), but again that applies to all eligible writers, not just the ones with chutzpah enough to lobby on their own behalf. To me that’s the same scuzz factor as the Weinsteins lobbying harder than others to get their Miramax films nominated.
I am glad that you “stepped up” and nominated the works anyway, even though the writers bugged you to.
Andrew, believe me I had more language about the “implied” notion that hints about “solicited” work is different, somehow less “evil.” My post was so long that I cut it, which I shouldn’t have done.
Whether or not I solicit a writer to contribute or not, I would still be annoyed/surprised to get a “hey dave, how are ya, by the by can you nominate me?” email.
I guess, also, I agree with your view of the editors’ role about advocating on the behalf … BUT I would change your apostrophe from “writer’s” to “writers’ behalf. In other words, you owe a collective debt to all eligible writers (for nominations purposes), or none of the writers. So, then, it would fall on you the editor to decide who to nominate, as it should be. The writer should back the fuck off the decision making process and worry about what to write next, not e-mailing you with friendly hints to look out for them instead of the other eligible writers.
So, I don’t disagree with you on almost everything you say, including the implicit trust in submitting (solicited or not), but again that applies to all eligible writers, not just the ones with chutzpah enough to lobby on their own behalf. To me that’s the same scuzz factor as the Weinsteins lobbying harder than others to get their Miramax films nominated.
I am glad that you “stepped up” and nominated the works anyway, even though the writers bugged you to.
Andrew, believe me I had more language about the “implied” notion that hints about “solicited” work is different, somehow less “evil.” My post was so long that I cut it, which I shouldn’t have done.
Whether or not I solicit a writer to contribute or not, I would still be annoyed/surprised to get a “hey dave, how are ya, by the by can you nominate me?” email.
I guess, also, I agree with your view of the editors’ role about advocating on the behalf … BUT I would change your apostrophe from “writer’s” to “writers’ behalf. In other words, you owe a collective debt to all eligible writers (for nominations purposes), or none of the writers. So, then, it would fall on you the editor to decide who to nominate, as it should be. The writer should back the fuck off the decision making process and worry about what to write next, not e-mailing you with friendly hints to look out for them instead of the other eligible writers.
So, I don’t disagree with you on almost everything you say, including the implicit trust in submitting (solicited or not), but again that applies to all eligible writers, not just the ones with chutzpah enough to lobby on their own behalf. To me that’s the same scuzz factor as the Weinsteins lobbying harder than others to get their Miramax films nominated.
I am glad that you “stepped up” and nominated the works anyway, even though the writers bugged you to.
Yes there are, however a list that’s overwhelmingly dominated by top-tier mags doesn’t instill a lot of confidence. Regardless, I’ll probably nominate to Best ASS this year, I like Andrew’s comment that we owe it to the writers to advocate on their behalf. That’s really the purpose of the editor, to raise up this thing that they found and say, “Hey, look at this!”
Yes there are, however a list that’s overwhelmingly dominated by top-tier mags doesn’t instill a lot of confidence. Regardless, I’ll probably nominate to Best ASS this year, I like Andrew’s comment that we owe it to the writers to advocate on their behalf. That’s really the purpose of the editor, to raise up this thing that they found and say, “Hey, look at this!”
Yes there are, however a list that’s overwhelmingly dominated by top-tier mags doesn’t instill a lot of confidence. Regardless, I’ll probably nominate to Best ASS this year, I like Andrew’s comment that we owe it to the writers to advocate on their behalf. That’s really the purpose of the editor, to raise up this thing that they found and say, “Hey, look at this!”
I agree Andrew. The work of the editor doesn’t stop at publication for me.
I agree Andrew. The work of the editor doesn’t stop at publication for me.
I agree Andrew. The work of the editor doesn’t stop at publication for me.
I’ll start with MWA because that’s the most recent nominations I’ve made. First I looked through the reader nominations to see which storyglossia stories had already been nominated, then I picked three stories that had wowed me in some way that hadn’t already been nominated. With MWA I see no point in nominating something already nominated. As it turned out a couple of the nominations were the same stories I nominated for the other awards. I chose them because they’ve stuck with me long after they were published, were stories that immediately came to mind without having to look over the back issue list. With so many good stories to choose from I pretty much follow that rule for BOTW, BASS and pushcart – whichever stories come to mind first because those left the strongest and longest impression.
I’ll start with MWA because that’s the most recent nominations I’ve made. First I looked through the reader nominations to see which storyglossia stories had already been nominated, then I picked three stories that had wowed me in some way that hadn’t already been nominated. With MWA I see no point in nominating something already nominated. As it turned out a couple of the nominations were the same stories I nominated for the other awards. I chose them because they’ve stuck with me long after they were published, were stories that immediately came to mind without having to look over the back issue list. With so many good stories to choose from I pretty much follow that rule for BOTW, BASS and pushcart – whichever stories come to mind first because those left the strongest and longest impression.
I’ll start with MWA because that’s the most recent nominations I’ve made. First I looked through the reader nominations to see which storyglossia stories had already been nominated, then I picked three stories that had wowed me in some way that hadn’t already been nominated. With MWA I see no point in nominating something already nominated. As it turned out a couple of the nominations were the same stories I nominated for the other awards. I chose them because they’ve stuck with me long after they were published, were stories that immediately came to mind without having to look over the back issue list. With so many good stories to choose from I pretty much follow that rule for BOTW, BASS and pushcart – whichever stories come to mind first because those left the strongest and longest impression.