June 23rd, 2009 / 12:28 am
Web Hype
Blake Butler
Web Hype
Dickface Compound Sentence Values Question
Which would be more valuable to you: 100 publications of pieces you liked a lot and were pretty proud of in various journals of small to medium-small circulation and of various reknown (from blogs up to occasional print journals that likely have a print run of 300 or 400 or less) or 1 publication of a story you are very happy with to very proud of in a journal of not megaalien level (ie: not the NYer or Paris Review) but of very well regarded and circulated in stores like Barnes and Noble (ie: Tin House or Ploughshares)? Why?
I’d settle for one truly good story on a word document on my fucking computer.
I’d settle for one truly good story on a word document on my fucking computer.
granted
granted
and then you die? 100.
tomorrow, in Ploughshares, and you have a good 40–60 years of life left? Ploughshares.
and then you die? 100.
tomorrow, in Ploughshares, and you have a good 40–60 years of life left? Ploughshares.
dickface?
dickface?
The second choice.
If I like the pieces equally, though, and the only variables were the number and prominence of the publications in question, I’d go for the first choice.
The second choice.
If I like the pieces equally, though, and the only variables were the number and prominence of the publications in question, I’d go for the first choice.
I used to only rarely write a story I was really, really happy with, and then I would try to submit it to pretty big publications and would feel bad about the idea of “letting it go” to a tiny mag (not that I ever had any luck that way). Now I write a lot more things I’m happy with, and I rarely ever submit to places like Tin House anymore, and am happy with the idea getting more out there in a variety of cool places. My ideal, though, would be something in the middle. I’d like to be publishing in, say, Caketrain and Hobart, which to me are obviously not Tin House/Ploughshares level, but still somewhere pretty up there in my book.
I used to only rarely write a story I was really, really happy with, and then I would try to submit it to pretty big publications and would feel bad about the idea of “letting it go” to a tiny mag (not that I ever had any luck that way). Now I write a lot more things I’m happy with, and I rarely ever submit to places like Tin House anymore, and am happy with the idea getting more out there in a variety of cool places. My ideal, though, would be something in the middle. I’d like to be publishing in, say, Caketrain and Hobart, which to me are obviously not Tin House/Ploughshares level, but still somewhere pretty up there in my book.
Yeah. But I say the latter.
Yeah. But I say the latter.
i think i second heath. i mean if that’s it, you can’t add to the pubs, then i’d take the quantity. this might be because i’m american and, therefore, really pleased by portions. but also because you can’t argue with quantity. people can debate quality forever, but quantity is not questionable. i’ve read great stuff in bad mags and bad stuff in great mags, and having my name associated with a mag that is big now, though it would be nice, but a one time thing, that doesn’t really do it. what would be nice would be to come up with a mag. i think that chinquee, and lutz, and deb olin unferth (and others) sort of did this with noon. (not that noon is as big as T-house). but i think that is more appealling than to have a one time showing in a mag. that was important before i even began writing. being in a big mag. once is like being the opening act for U2 (or Green Day, or The Chili Peppers, of Coldplay, or Radiohead, one of those type bands that have been around a while). Cool. I guess. But if that’s all you got, you’d better get back to work.
i think i second heath. i mean if that’s it, you can’t add to the pubs, then i’d take the quantity. this might be because i’m american and, therefore, really pleased by portions. but also because you can’t argue with quantity. people can debate quality forever, but quantity is not questionable. i’ve read great stuff in bad mags and bad stuff in great mags, and having my name associated with a mag that is big now, though it would be nice, but a one time thing, that doesn’t really do it. what would be nice would be to come up with a mag. i think that chinquee, and lutz, and deb olin unferth (and others) sort of did this with noon. (not that noon is as big as T-house). but i think that is more appealling than to have a one time showing in a mag. that was important before i even began writing. being in a big mag. once is like being the opening act for U2 (or Green Day, or The Chili Peppers, of Coldplay, or Radiohead, one of those type bands that have been around a while). Cool. I guess. But if that’s all you got, you’d better get back to work.
why is quantity not questionable
why is quantity not questionable
i don’t understand the logic there. why does dieing tomorrow matter in the scenario?
i don’t understand the logic there. why does dieing tomorrow matter in the scenario?
i’m probably in the 1 ploughshares camp for the clout it would attach to one, but the more i do this the more i drift, not necessarily toward the 100 camp, but toward a 1 camp that, regardless of where it ends up, is something i won’t believe i wrote. i have feeling it won’t be right for ploughshares.
i’m probably in the 1 ploughshares camp for the clout it would attach to one, but the more i do this the more i drift, not necessarily toward the 100 camp, but toward a 1 camp that, regardless of where it ends up, is something i won’t believe i wrote. i have feeling it won’t be right for ploughshares.
what if it was right and still on yr terms
what if it was right and still on yr terms
that logic is false. quantity is subjective in this environment. 100 ploughshares publications doesn’t equal 100 publications of some new start-up no ones heard of that’s desparate for submissions. You’re forced to make qualitative choices.
that logic is false. quantity is subjective in this environment. 100 ploughshares publications doesn’t equal 100 publications of some new start-up no ones heard of that’s desparate for submissions. You’re forced to make qualitative choices.
i don’t know. i guess ploughshares then. what would you do?
i don’t know. i guess ploughshares then. what would you do?
‘When challenged why he had written so little, he fired back: “Moses published one book. What did he do after that?”‘
http://en.wikipedia.org/wiki/Sydney_Morgenbesser
‘When challenged why he had written so little, he fired back: “Moses published one book. What did he do after that?”‘
http://en.wikipedia.org/wiki/Sydney_Morgenbesser
it’s just one piece right, not a hundred. does the scenario assume you have 101 pieces sitting in front of you and you take the one you really love and send it to pshares and the rest go to 100 other places, and which of those bundles do you handle the most carefully. maybe because i feel i’ve already done the 100 thing, or fifty or however many and here i am feeling like myself and all i have to wonder about is how would it feel to do the other thing, so yeah, the 1 is more valuable to me in that respect.
it’s just one piece right, not a hundred. does the scenario assume you have 101 pieces sitting in front of you and you take the one you really love and send it to pshares and the rest go to 100 other places, and which of those bundles do you handle the most carefully. maybe because i feel i’ve already done the 100 thing, or fifty or however many and here i am feeling like myself and all i have to wonder about is how would it feel to do the other thing, so yeah, the 1 is more valuable to me in that respect.
i guess i’ve done the 1 too if nytyrant counts. i think it does. and from everything i’ve published i value that one the most. so far. what’s next?
i guess i’ve done the 1 too if nytyrant counts. i think it does. and from everything i’ve published i value that one the most. so far. what’s next?
i’m glad, and my day feels good, when i have a receipt or a coupon with some good lines written on it, in my pocket.
i’m glad, and my day feels good, when i have a receipt or a coupon with some good lines written on it, in my pocket.
Well, I’d probably take the one publication. Not because of the increased circulation (although that certainly would be a plus and I am not against higher circ), but because, at least according to the scenario, I would be more happy with that story than the 100 others. If I’m letting other people see what I’ve written, I want it to be something I’m very happy with and not just slightly enthused about. Even if everyone thinks it’s horrible, I’d rather my ‘best’ out there than my ‘so-so’.
Well, I’d probably take the one publication. Not because of the increased circulation (although that certainly would be a plus and I am not against higher circ), but because, at least according to the scenario, I would be more happy with that story than the 100 others. If I’m letting other people see what I’ve written, I want it to be something I’m very happy with and not just slightly enthused about. Even if everyone thinks it’s horrible, I’d rather my ‘best’ out there than my ‘so-so’.
that’s funny…. i wrote this screenplay where this girl is kidnapped and her kidnapper is talking to her, making fun of her because she shot and almost killed her boyfriend earlier that night. And he’s being all smarmy about it. She’s says, “Fuck you dickface” and he goes, “Dickface?”
I still smile and chuckle when I remember that scene. I never heard anyone say that until i started writing it, then all of a sudden I heard it in like 10 places at once. Same thing when I was chillin with my friends and I said, “Ridic” (short for, you know, ridiculous). And they hadn’t heard it. Then I heard David Spade doing that shit. He didn’t steal it from me, and me from him, this is obvious. Just weird language just sprouts the fuck up disparately.
heh… dickface…
that’s funny…. i wrote this screenplay where this girl is kidnapped and her kidnapper is talking to her, making fun of her because she shot and almost killed her boyfriend earlier that night. And he’s being all smarmy about it. She’s says, “Fuck you dickface” and he goes, “Dickface?”
I still smile and chuckle when I remember that scene. I never heard anyone say that until i started writing it, then all of a sudden I heard it in like 10 places at once. Same thing when I was chillin with my friends and I said, “Ridic” (short for, you know, ridiculous). And they hadn’t heard it. Then I heard David Spade doing that shit. He didn’t steal it from me, and me from him, this is obvious. Just weird language just sprouts the fuck up disparately.
heh… dickface…
I dunno.
I could be Howie Good and just be every-fucking-where. Because that’s cool. Every publication I want to submit too he’s already there. So to have that same effect is pretty powerful…
But then it bothers me when something I kinda love (or almost love), which rarely happens, or if it does, I’m over it after I realize I’m gonna die some day (this happens everyday)… anyway, it bothers me if it ends up in a small venue and vanishes…without having been eye’d…
Okay, if I’m gonna die tomorrow, 100. If I’m living until I go half on a baby, then a semi-big puncher. Yeah. That’s it.
This is tough… what’s with making us think about our publishing habits Butler? First the other one, now this… its good.
I dunno.
I could be Howie Good and just be every-fucking-where. Because that’s cool. Every publication I want to submit too he’s already there. So to have that same effect is pretty powerful…
But then it bothers me when something I kinda love (or almost love), which rarely happens, or if it does, I’m over it after I realize I’m gonna die some day (this happens everyday)… anyway, it bothers me if it ends up in a small venue and vanishes…without having been eye’d…
Okay, if I’m gonna die tomorrow, 100. If I’m living until I go half on a baby, then a semi-big puncher. Yeah. That’s it.
This is tough… what’s with making us think about our publishing habits Butler? First the other one, now this… its good.
honestly,
fuck the new yorker
honestly,
fuck the new yorker
Care to elaborate? I mean, I can see the pro’s and cons, but still. Seems ‘trendy’ to hate on the New Yorker, but it also seems ‘trendy’ to like it/want to be published in it.
Care to elaborate? I mean, I can see the pro’s and cons, but still. Seems ‘trendy’ to hate on the New Yorker, but it also seems ‘trendy’ to like it/want to be published in it.
okay, i think i read the original post wrong.
Is pretty proud better than very proud? Is liked a lot better than very happy?
If very proud is better than liked a lot than I’d go with the scenario of 1 in a semi-big journal.
okay, i think i read the original post wrong.
Is pretty proud better than very proud? Is liked a lot better than very happy?
If very proud is better than liked a lot than I’d go with the scenario of 1 in a semi-big journal.
What’s really trendy is caring about what’s trendy when making a judgement of value.
What’s really trendy is caring about what’s trendy when making a judgement of value.
I feel kind of inept at factoring in any degrees of pride, because it constantly changes for me. I write things I feel pretty unsure about and then read them later and like them way more. And I write things I briefly think are the shit and submit to big mags and then later I read them and think they’re awful and am embarrassed that I ever sent them out anywhere. There’s a story I have right now that I’m really happy with that’s been rejected more places than anything else I’ve written, and as much as I can be objective, I feel like it’s similar to and at least as good as the stuff I am having picked up. So I don’t know. I feel like things get separated into “things that are okay enough to submit” and “things that aren’t okay enough to submit,” and I don’t know if I can think of levels of pride beyond that.
I feel kind of inept at factoring in any degrees of pride, because it constantly changes for me. I write things I feel pretty unsure about and then read them later and like them way more. And I write things I briefly think are the shit and submit to big mags and then later I read them and think they’re awful and am embarrassed that I ever sent them out anywhere. There’s a story I have right now that I’m really happy with that’s been rejected more places than anything else I’ve written, and as much as I can be objective, I feel like it’s similar to and at least as good as the stuff I am having picked up. So I don’t know. I feel like things get separated into “things that are okay enough to submit” and “things that aren’t okay enough to submit,” and I don’t know if I can think of levels of pride beyond that.
There is a difference between being aware of trendiness and caring about it/letting it affect your judgement. Mostly put ‘seems “trendy” to like it/want to be published in it’ to act as a foil so as not to be a complete troll. All I meant was, ‘yeah, I understand why you may not like the new yorker but if you’re wanting to publish you have to play ball, or at least convince everyone you’re playing.’
But: there are certainly valid reasons for not liking the new yorker, paris review, harpers, etc, but if you have good fiction that they are willing to publish I wonder ‘why not?’
There is a difference between being aware of trendiness and caring about it/letting it affect your judgement. Mostly put ‘seems “trendy” to like it/want to be published in it’ to act as a foil so as not to be a complete troll. All I meant was, ‘yeah, I understand why you may not like the new yorker but if you’re wanting to publish you have to play ball, or at least convince everyone you’re playing.’
But: there are certainly valid reasons for not liking the new yorker, paris review, harpers, etc, but if you have good fiction that they are willing to publish I wonder ‘why not?’
word.
word.
I like little mags – they feel more personal. And my work doesn’t seem suitable for somewhere like PS or the New Yorker – even if they did accept it, I’d find it really weird seeing my stuff next to Tony Hoagland or someone like that (case and point the latest issue of Poetry – and the title of this post could be written by Nada Gordon). Though I’ve got an essay that I’m reworking to fit for a larger mag rather than sending it in it’s current state to a smaller one. But for poetry it’s small mags all the way.
In terms of pride I don’t really care – there’s a certain excremental quality to my writing that eludes any kind of serious qualitative judgement on my part.
I like little mags – they feel more personal. And my work doesn’t seem suitable for somewhere like PS or the New Yorker – even if they did accept it, I’d find it really weird seeing my stuff next to Tony Hoagland or someone like that (case and point the latest issue of Poetry – and the title of this post could be written by Nada Gordon). Though I’ve got an essay that I’m reworking to fit for a larger mag rather than sending it in it’s current state to a smaller one. But for poetry it’s small mags all the way.
In terms of pride I don’t really care – there’s a certain excremental quality to my writing that eludes any kind of serious qualitative judgement on my part.
the number 100 is always the number 100.
the number 100 is always the number 100.
sure. you have to make qualitative decisions. but if your standing by the argument that 1 ploughshare publications is worth more quality than 100 smaller pubs. then you have to realize that this is a debatable statement. if your saying that 100 publications is 99 more than 1, that’s an irrefutable fact.
sure. you have to make qualitative decisions. but if your standing by the argument that 1 ploughshare publications is worth more quality than 100 smaller pubs. then you have to realize that this is a debatable statement. if your saying that 100 publications is 99 more than 1, that’s an irrefutable fact.
i dunno, blake, you might be the only cat on this that’s been unpublished. would you give up your black warrior review pub. to save all your smaller pubs. from being erased from the internet?
i dunno, blake, you might be the only cat on this that’s been unpublished. would you give up your black warrior review pub. to save all your smaller pubs. from being erased from the internet?
seconded
seconded
Does anyone really read Tin House and Ploughshares and journals like that?
Serious question.
Does anyone really read Tin House and Ploughshares and journals like that?
Serious question.
Journals like that as in the most popular and best regarded journals around?
Yes, people really read those.
Do they read the generic midlevel lit mags though?
Journals like that as in the most popular and best regarded journals around?
Yes, people really read those.
Do they read the generic midlevel lit mags though?
I might have to go with the Tin House. I think when you are starting writing, or when I was, I just wanted to be published and get around… but now I’m kind of embarrassed by some of the things I’d published and it would have been better for me to just have one amazing piece I loved get in a better journal.
Although I might have to switch if this is a “and then you die” thing instead of a what would you like right now.
I might have to go with the Tin House. I think when you are starting writing, or when I was, I just wanted to be published and get around… but now I’m kind of embarrassed by some of the things I’d published and it would have been better for me to just have one amazing piece I loved get in a better journal.
Although I might have to switch if this is a “and then you die” thing instead of a what would you like right now.
Although I guess it kind of depends on what the little mags are. Do we get to pick these? I feel you can have two lit mags of similar stature yet one is just published by some University and no one on earth reads it and another still has a small circulation but is “hip” (for lack of a better word) and publishes neat people and the small readership is made up of the types of readers you would want.
Although I guess it kind of depends on what the little mags are. Do we get to pick these? I feel you can have two lit mags of similar stature yet one is just published by some University and no one on earth reads it and another still has a small circulation but is “hip” (for lack of a better word) and publishes neat people and the small readership is made up of the types of readers you would want.
Ditto on Howie. The dude is everywhere, and damn near everything he publishes rocks hard
Ditto on Howie. The dude is everywhere, and damn near everything he publishes rocks hard
OK, I know they’re the “most popular” and the “best regarded” and they’re stocked in Barnes and Noble.
But, like, who reads them, and what for? What raises them above the “generic mid-level lit mags”?
No doubt a good portion of the stuff they publish is worth reading. But it’s going to be a mixed bag, right? And there’s plenty to read elsewhere.
So what I’m wondering is do those journals have an editorial sensibility that’s worth exploring for its own sake. Because that’s the only reason I could see to read them, other than just to try to work out out why they exist.
OK, I know they’re the “most popular” and the “best regarded” and they’re stocked in Barnes and Noble.
But, like, who reads them, and what for? What raises them above the “generic mid-level lit mags”?
No doubt a good portion of the stuff they publish is worth reading. But it’s going to be a mixed bag, right? And there’s plenty to read elsewhere.
So what I’m wondering is do those journals have an editorial sensibility that’s worth exploring for its own sake. Because that’s the only reason I could see to read them, other than just to try to work out out why they exist.
Thirded
Thirded
yes. Writers read generic midlevel litmags
same audience that reads Tin House
It’s just a different percentage of the audience
yes. Writers read generic midlevel litmags
same audience that reads Tin House
It’s just a different percentage of the audience
I’m just saying I do think a fair amount of people read the big lit mags (McSweeney’s, Tin House, Zoetrope, etc.) I think they have pretty large circulations and subscribers, as far as literary stuff goes.
Lit mags can be a mixed bag of course, but so can short story collections, even of your favorite author.
I’m just saying I do think a fair amount of people read the big lit mags (McSweeney’s, Tin House, Zoetrope, etc.) I think they have pretty large circulations and subscribers, as far as literary stuff goes.
Lit mags can be a mixed bag of course, but so can short story collections, even of your favorite author.
So it’s other writers who read these journals? Does anyone here personally read them on a regular basis? Is it for professional reasons, to find out what they’re printing?
A mixed bag of stories by an author I’m interested in is one thing. And
I read Agricultural Reader, for instance, because it’s based in a scene I’m interested in. I would have read Locus Solus if I had been alive then and cool enough to know about it.
But I can’t see myself ever picking up one of the larger, un-contextualized literary journals.
Or is there an interesting editorial context to them that I’m just missing?
So it’s other writers who read these journals? Does anyone here personally read them on a regular basis? Is it for professional reasons, to find out what they’re printing?
A mixed bag of stories by an author I’m interested in is one thing. And
I read Agricultural Reader, for instance, because it’s based in a scene I’m interested in. I would have read Locus Solus if I had been alive then and cool enough to know about it.
But I can’t see myself ever picking up one of the larger, un-contextualized literary journals.
Or is there an interesting editorial context to them that I’m just missing?
Literary magazines, the good ones at least, are a great place to find new writers (either to you or to the publishing world). Also, lit mags are like mix tapes or something. You get to check out different styles and authors next to each other in a different context. I think that is better than reading a collection straight through most of the time.
Literary magazines, the good ones at least, are a great place to find new writers (either to you or to the publishing world). Also, lit mags are like mix tapes or something. You get to check out different styles and authors next to each other in a different context. I think that is better than reading a collection straight through most of the time.
Because Ploughshares and Tin House pay well, and it could mean the start of a career, and there could be, down the road, 100 stories in places that actually pay money. And once writing actually pays a small portion of the bills to pay, you can start doing whatever you want—at least, that has been how it has been. It’s true the game is a bit different now. You could publish 100 stories and people will start hearing about you, and that could also parlay into a career—I just don’t think I’m built for volume. But prestige, circulation size, all that really has little bearing for me. I won’t lie and say it doesn’t, it’s just not a lot.
100 and you die, well, then, someone has been reached or touched or communicated with, which I suppose is what I hope in getting something published, or maybe that is what I hope out of life. I don’t know.
It might depend on what is meant by “value.” I have people to feed.
Artistically, I agree with the above—true satisfaction with something I’ve written independent of whether someone publishes a piece or not. That is a hard thing. That may be the hardest thing.
Because Ploughshares and Tin House pay well, and it could mean the start of a career, and there could be, down the road, 100 stories in places that actually pay money. And once writing actually pays a small portion of the bills to pay, you can start doing whatever you want—at least, that has been how it has been. It’s true the game is a bit different now. You could publish 100 stories and people will start hearing about you, and that could also parlay into a career—I just don’t think I’m built for volume. But prestige, circulation size, all that really has little bearing for me. I won’t lie and say it doesn’t, it’s just not a lot.
100 and you die, well, then, someone has been reached or touched or communicated with, which I suppose is what I hope in getting something published, or maybe that is what I hope out of life. I don’t know.
It might depend on what is meant by “value.” I have people to feed.
Artistically, I agree with the above—true satisfaction with something I’ve written independent of whether someone publishes a piece or not. That is a hard thing. That may be the hardest thing.
I’d rather have not published my first ten acceptances, I think, because they were all in journals that took the business less serious than I do. That notwithstanding, I think if I am sending something somewhere, then I’ll be happy if it is published. I’m focusing more on hitting certain markets lately. I have half a mind that I’d be happy if I ever had a short article about Reagan in Rolling Stone and a short fiction piece in Playboy before I die. It’s hard to keep in mind that I’m still young and only getting better.
I’d rather have not published my first ten acceptances, I think, because they were all in journals that took the business less serious than I do. That notwithstanding, I think if I am sending something somewhere, then I’ll be happy if it is published. I’m focusing more on hitting certain markets lately. I have half a mind that I’d be happy if I ever had a short article about Reagan in Rolling Stone and a short fiction piece in Playboy before I die. It’s hard to keep in mind that I’m still young and only getting better.
I read Tin House, and Zoetrope, and McSweeney’s. Not every single issue, but frequently. I think all three have an aesthetic I appreciate, which in general tends to be somewhere in the middle ground between the experimental and the very traditional. Tin House in particular tends to publish a lot of people I really like–Jim Shepard, Aimee Bender, Steve Almond, Lucy Corin, Kevin Wilson… Pretty much the majority of the more mainstream writers I enjoy make frequent appearances there.
I read Tin House, and Zoetrope, and McSweeney’s. Not every single issue, but frequently. I think all three have an aesthetic I appreciate, which in general tends to be somewhere in the middle ground between the experimental and the very traditional. Tin House in particular tends to publish a lot of people I really like–Jim Shepard, Aimee Bender, Steve Almond, Lucy Corin, Kevin Wilson… Pretty much the majority of the more mainstream writers I enjoy make frequent appearances there.
Do-it-yourself. Staples and paper. Send to friends. Or people who’s stuff you like. If you don’t have staples and paper, then send it as an attachment. If you don’t have their email address, send it anywhere. Random emailing. If you don’t have a computer, that’s okay. Just send it anywhere. Random mailing. If stamps are too expensive, drop it off on the bus or near bus stops. Or put it in newspaper bins. Or leave it on cafe tables. Or inside grocery carts. Or hung by shoe stings over telephone wires.
Send it to people you think will not like it, too. Chiefs of police. Archbishops. Operation Rescue. Be sure to accompany it with a drawing of something cute like a stick figure of a bunny beating up a cop.
Do-it-yourself. Staples and paper. Send to friends. Or people who’s stuff you like. If you don’t have staples and paper, then send it as an attachment. If you don’t have their email address, send it anywhere. Random emailing. If you don’t have a computer, that’s okay. Just send it anywhere. Random mailing. If stamps are too expensive, drop it off on the bus or near bus stops. Or put it in newspaper bins. Or leave it on cafe tables. Or inside grocery carts. Or hung by shoe stings over telephone wires.
Send it to people you think will not like it, too. Chiefs of police. Archbishops. Operation Rescue. Be sure to accompany it with a drawing of something cute like a stick figure of a bunny beating up a cop.
what raises them above mid-level is they have a deeper well of slush to draw from.
what raises them above mid-level is they have a deeper well of slush to draw from.
& random commenting
Right on.
I think this also answers your earlier question about ending capitalism
& random commenting
Right on.
I think this also answers your earlier question about ending capitalism
What Nick said.
What Nick said.
I had a story in Ploughshares. no one ever read it. plus I stopped writing for a while because it wigged me out. Can I give back the Ploughshares and go for the 100? I’d rather be in Hobart or Northville Review any day. And get read by people who love reading.
I had a story in Ploughshares. no one ever read it. plus I stopped writing for a while because it wigged me out. Can I give back the Ploughshares and go for the 100? I’d rather be in Hobart or Northville Review any day. And get read by people who love reading.
man
man
I’ve had students who’ve written well-crafted stories that I tell them, “I could see this in Ploughshares,” and then I let them know what’s wrong with the story. Usually they’re predictable and artificial and dead in the water.
Publication won’t change anyone’s life. Only a sentence can do that.
I’ve had students who’ve written well-crafted stories that I tell them, “I could see this in Ploughshares,” and then I let them know what’s wrong with the story. Usually they’re predictable and artificial and dead in the water.
Publication won’t change anyone’s life. Only a sentence can do that.
Thanks, Angi. So Tin House, at least, represents a certain literary tendency. I know that that’s true of McSweeney’s as well. They have an identifiable thing that they do. I wonder if that’s generally true of lit mags, at least as an ideal, and I’m just too ill-informed to pick up on it.
Thanks, Angi. So Tin House, at least, represents a certain literary tendency. I know that that’s true of McSweeney’s as well. They have an identifiable thing that they do. I wonder if that’s generally true of lit mags, at least as an ideal, and I’m just too ill-informed to pick up on it.
That makes sense to me. I don’t think Antietam Review is as big as Ploughshares, but I had a piece in AR once and it was a meaningless and alienating experience.
That makes sense to me. I don’t think Antietam Review is as big as Ploughshares, but I had a piece in AR once and it was a meaningless and alienating experience.
what wigged you out, in particular, LES? can you say? will you?
what wigged you out, in particular, LES? can you say? will you?
I had a rough time in the MFA, got the fancy beat out of me by a famous man only to have another famous man solicit my story for P’shares. I thought of myself as a rebel only to land in the mainstream of lit fic. I thought I was a punk and then I got punctuated. boo hoo, right?
I had a rough time in the MFA, got the fancy beat out of me by a famous man only to have another famous man solicit my story for P’shares. I thought of myself as a rebel only to land in the mainstream of lit fic. I thought I was a punk and then I got punctuated. boo hoo, right?
Word and ditto and so on
Word and ditto and so on
alan- (I hate that replies only go so deep). I read lit mags big and small because I love fiction. I’m a writer. Most of the other people who read those magazines are writers. Most “readers” are writers (outside of those who read exclusively big name writers like Grisham, Brown and King but have no desire to explore for beauty). The people who read Ploughshares are the people who read Gustaf. It’s just that fewer of them have found Gustaf. Most of them are writers or people who want to be writers. That’s the way it works. It is a sad state of affairs, but it seems to be the status quo.
Ploughshares seems weak these days. Zoetrope is better (but has massive flaws). I especially love small lit magazines (and e-zines) because they have real balls and don’t care what your name is.
alan- (I hate that replies only go so deep). I read lit mags big and small because I love fiction. I’m a writer. Most of the other people who read those magazines are writers. Most “readers” are writers (outside of those who read exclusively big name writers like Grisham, Brown and King but have no desire to explore for beauty). The people who read Ploughshares are the people who read Gustaf. It’s just that fewer of them have found Gustaf. Most of them are writers or people who want to be writers. That’s the way it works. It is a sad state of affairs, but it seems to be the status quo.
Ploughshares seems weak these days. Zoetrope is better (but has massive flaws). I especially love small lit magazines (and e-zines) because they have real balls and don’t care what your name is.
beautiful
beautiful
how do you draw a stick figure of a bunny?
… i wanna draw one…
how do you draw a stick figure of a bunny?
… i wanna draw one…
ah, gotcha. thanks for sharing this.
ah, gotcha. thanks for sharing this.
i think the real question here is:
what is your objective in getting your writing published. i think people should examine that first before they even start publishing. are you in it for a lucrative book deal so you can make money off your writing? are you in it to land a job at a university? are you in it for shits and giggles? i think all three of these answers will detrmine your publication strategy and i will use examples already mentioned by folks above.
howie good. i love his stuff. he’s everywhere. i think he’s in it because he loves to write and create and therefore the 100 pubs works best for him. i could b wrong but i doubt he’s after the university gig.
kim chinquee. her stuff is everywhere. she landed the job at suny buffalo. i think she’d rather have 100 good pubs than one great one. the proof is she has 100’s of pubs.
jim shepard. i love jim shepard, but he’s probably in it for the book deal. so he’d rather have one great pub.
again, im making assumptions based on nothing but guesses but i think what im saying has validity.
me, im kinda in the middle. sure i want as many people reading my stuff as possible, but i dont care if i ever make money off of writing, other than teaching at university, which is how i makes my chedda. so tin house, yeah id like to have something in tin house. but if it never happens i dont care and im ok with it.
i think the real question here is:
what is your objective in getting your writing published. i think people should examine that first before they even start publishing. are you in it for a lucrative book deal so you can make money off your writing? are you in it to land a job at a university? are you in it for shits and giggles? i think all three of these answers will detrmine your publication strategy and i will use examples already mentioned by folks above.
howie good. i love his stuff. he’s everywhere. i think he’s in it because he loves to write and create and therefore the 100 pubs works best for him. i could b wrong but i doubt he’s after the university gig.
kim chinquee. her stuff is everywhere. she landed the job at suny buffalo. i think she’d rather have 100 good pubs than one great one. the proof is she has 100’s of pubs.
jim shepard. i love jim shepard, but he’s probably in it for the book deal. so he’d rather have one great pub.
again, im making assumptions based on nothing but guesses but i think what im saying has validity.
me, im kinda in the middle. sure i want as many people reading my stuff as possible, but i dont care if i ever make money off of writing, other than teaching at university, which is how i makes my chedda. so tin house, yeah id like to have something in tin house. but if it never happens i dont care and im ok with it.
Pokemon cards. You want the $350 holographic Charizard, or the Blastoise (because your first copy on the Gameboy was Pokemon Blue and he has better attacks for less energy)?
Pokemon cards. You want the $350 holographic Charizard, or the Blastoise (because your first copy on the Gameboy was Pokemon Blue and he has better attacks for less energy)?
blastoise. duh.
blastoise. duh.